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NISNOOSIM ‘HINOWONGJ[ ‘ALOLILSNT LAOLG LV AYOMIVLAJ NI SSVIO S,HOHLAY 





METALCRAFT 


and 


JEWELRY 


By 


EMIL F. KRONQUIST 
Formerly Instructor in Milwaukee State Normal School and 
the Washington High School, Milwaukee, Wis. 





THE MANUAL ARTS PRESS 


Peoria, Illinois 





3 aie CopYRIGHT, 1926 
64PS3 


INTRODUCTION 


NTELLECTUAL education has run away with us. 
The balance necessary for a rounded-out culture can 
only be had when the practice of the arts as well as appre- 
ciation is a part of general community life. Machinery 
today has robbed us of the urge to be practical with our 
hands, but no machine has ever designed, and no design 
has been successful unless the material of its application 
was thoroughly understood by the designer. 

We no longer have to produce as individuals with our 
hands the necessities and comforts of daily life, and this 
very leisure which science has given us promotes a passion 
for grace and satisfaction in all the things we possess. 
A product of manufacture must now be beautiful as well 
as useful. The design that goes into it must be created by 
one who understands the materials from which it is made. 
Who knows the limitations of wood, stone, metal, clay, or 
fabric unless he has worked in it? 

The development of aesthetics was never more needed 
from the practical standpoint, but from the standpoint 
of individual happiness it is even more needed. With 
~ machinery doing the world’s work there is time to spend 
in the daily life of all. Shall it be squandered, or will we 
really buy something with it? Pleasure can be bought on 
the outside but happiness comes from within. The flare 
to create beauty is rare in a mechanical age, but within 
all humans is a smouldering desire, the devine heritage. 
This is not recognized in the great system, the steam- 
roller process, of present-day education. 

‘“‘T should like to do something worth while with my 

5 


6 INTRODUCTION 


spare time, but I know not how. The mystery of the arts 
baffles me.”’ This delightful book is one of the answers, 
clearly opening the way, step by step, but with direct and 
simple approach, to the practice of metal-craft. Nothing 
seems to have been omitted; it is surely a complete text- 
book for the novice. Emil Kronquist’s scholarly and 
thorough attack is happily void of pedantry and technical 
confusions. While it is food for babes, the experienced 
master will find many a morsel of help and potent stimu- 
lation in its illustrations and eloquent text. 

The conscientious and thorough presentation of a life 
work such as this is might be dull but for the obvious 
inspiration and enthusiasm that has gone into the long 
hours of writing, drawing, and photography. Its 
thrills are many. This generous sharing of life’s riches 
places us in this artist-teacher-craftsman’s debt. He 
leaves his own pursuits and takes us by the hand, leading 
us gently but joyously into a world of beauty and a life 
worth while. 

DupLeyY Crarrs WATSON 
Director of Extension Work 
Chicago Art Institute 


FOREWORD 


CCOMPLISHMENT in any art or craftisnot easy, but 
usually we do a thing of this kind becausewe love to. 

To really appreciate a piece of work it is essential to 
know how it was made. The possibilities in designing are 
limited to the extent of the knowledge the worker has of 
the medium he intends to work in. 

The primary purpose of this book is to acquaint the 
reader with the metals chiefly used by the craftworker— 
silver, brass, and copper. 

Simple jewelry lends itself splendidly as a medium for 
teaching metal-craft, and the making of useful articles for 
personal adornment or gifts is well within the scope of the 
beginner. The students’ work shown in this book indi- 
cates what may be accomplished by careful and system- 
atic guidance. 

The question of design is, and always will be, the great 
obstacle in teaching a craft, because the creative ability 
of the average person is limited to an extent of discourage- 
ment. We should, however, remember that it is hardly 
fair to expect a student to design or plan something to be 
worked in a material with which he is not familiar, and 
little knowing its limitations. With this important fact 
in mind the basic outline of this book was made. 

A type problem is presented and the different steps of 
operation are shown in a graphical sequence. ‘The text 
matter explains the various tools and their uses, which 
are illustrated wherever necessary. Additional designs are 
presented for each type problem for the purpose of offering 
a suggestion for further study. 

{i 


8 FOREWORD 


It is hoped some of the contents of the pages to follow 
will prove beneficial to the student craftworker and fur- 
nish information, and perhaps inspiration, to carry on the 
work as an avocation. 

I desire to express my appreciation to Milwaukee 
Downer College and to my former students of the Mil- 
waukee Normal Art School and Stout Institute, Menom- 
onie, Wisconsin, much of their work being reproduced 
herein. 

I desire also to express my appreciation to George H. 
Trautman, whose work is shown, and my acknowledg- 
ment of the courtesies rendered by The Gorham Co., 
New York; Espositer Varni Co., New York; and Ben. 
Hunt, Milwaukee, Wisconsin. 


TABLE OF CONTENTS 


PAGE 
NR PUN ei ca kee wee ce ee eels 5) 
TOU ee eee tle cee 7 
CHAPTER I. ESSENTIAL PRELIMINARY INFORMATION I11 


1. General rules. 2. Design. 3. Transferring a Design. 
4. Seratch Awl and Burnisher. 5. Preparation of Metal. 
6. Precautions. 7. Cleaning by Chemicals. 8. Baser Metals. 
9. Precious Metals. 10. Carat. 11. Metal Gages. 12. 
Processes. 


emma ee iERGED WORK. ..... 6.6... eee en. 


13. The Watch Fob. 14. Drilling. 15. Sawing. 16. Files 
and Filing. 17. Wire and Wire Drawing. 18. Hard Solder- 
ing. 19. Silver Solder. 20. Iron Binding Wire. 21. Final 
Pickling. 


CHAPTER III. PINs AND BROOCHES WITH SETTINGS. 


22. The Possibilities in Designing. 23. The Close Setting. 
24. The Brooch. 25. The Heat Application. 26. The Bezel. 
27. Setting the Stone. 


CHAPTER ITV. Pins AND BROoOcHES wiITH LIGHT 
Mee ee ee oe ek 


28. The Designs. 29. The Tools. 30. Chasing. 31. The 
Scarf Pin. 


Mrmr Ve ORING NMLIAKING............... eae ny, 


32. Pierced Work. 33. Rings with Applied Work. 34. Rings, 
Carved and Chased. | 


CHAPTER VI. CHASING AND Repoussk WORK .... 


35. Chasing, 36. The Pitch. 37. Preparation. 38. Chaser’s 

Pitch Bowl. 39. Chaser’s Pitch Block. 40. Heating the 

Pitch. 41. Attaching the Metal to the Pitch. 42. A Chaser’s 
9 


20 


47 


61 


69 


6-10 CONTENTS 


or Repoussé Worker’s Hammer. 438. Making Chasing Tools. 
44. Hardening and Tempering. 45. To Harden a Steel Tool. 
46. To Temper. 47. Holding the Chasing Tool. 48. Pre- 
liminary Exercises in Repoussé Work. 49. The Pendant. 
50. Repoussé Work on Hollow Articles. | 


CuaptTerR VII. Wire-DRAWING AND WIRE WoRK.. 97 


51. The Process of Wire-Drawing. 52. Draw-Plates. 
53. Chain Making. 54. Unit Jewelry. 55. Twisting Wires. 
56. Filigree. 


CuaptTer VIII. Stones AND METALS—SOLDERING. 110 


57. Stones. 58. Precious Stones. 59. Semi-precious Stones. 
60. Hardness. 61. Birth Stones. 62. How to Order Silver 
or Gold. 63. Melting Silver and Scraps. 64. Rolling. 
65. Composition Metal. 66. Soft Solder. 67. Flux for Soft 
Solder. 68. Soldering Iron or Bit. 69. Tinning Copper 
Point. 70. Cleaning the Bit by Dipping. 


Cuaprer LX. HAMMERED WORK. ....0. coe ee 124 


71. Art Metalwork. 72. Flat Work. 73. Planishing. 
74. Rivets. 75. Process of Riveting. 76. Letter Opener. 
77. Drawer Pulls. 78. The Dapping Die. 79. Lanterns. 
80. Desk Set. 


CHAPTER X. RAISED WORK: (2.3, e258 Rese 151 


81. Shallow Bowls or Trays. 82. Planishing. 83. Raising. 
84. Crimping. 85. Trays and Platters. 86. Seaming. 


CHAPTER XI. METAL COLORING—OXIDIZING...... tie 


87. Metal Coloring. 88. Polishing. 89. Oxidizing Silver. 
90. Oxidizing Copper. 91. Oxidizing Copper or Brass. 
92. Bright Dip. 938. Metal Lacquer. 


CHAPTER I 


ESSENTIAL PRELIMINARY INFORMATION 


1. There are as arule several ways of executing a piece 
of work, whether it be gold, silver, brass, or copper, but 
the preliminary processes of preparing the design and the 
metal are about the same in each case. 

The problems in this book will take the worker from 
the simple to the more complex, showing in many cases 
how the same design can be worked out by different 
methods. 

2. Design. The term ‘‘design”’ means in its broad 
sense to plan something. It may be under any of the 
three general heads: naturalistic, conventional, or geo- 
metric. 

Considerable time is usually spent on the design, and 
it is of the utmost importance because upon this one 
thing depends whether we are going to be interested in 
doing the work and finally admire the finished object. 

A clean, accurate outline drawing should be made from 
the design on a good grade of tissue or tracing paper, 
using a pencil not too hard, but pointed sharp as a needle 
and kept in that condition by the frequent use of an old 
file or sandpaper. 

3. Transferring a Design on to a metallic surface may 
be accomplished in several different ways. 

Yellow beeswax is an excellent medium for transferring 
small, intricate designs of jewelry on to gold, silver, cop- 
per, or brass. The wax is applied to the clean surface of 
the metal, which has been previously heated, by rubbing 

1] 


12 METALCRAFT AND JEWELRY 


on a very small quantity and wiping with a clean rag to 
insure an even, thin film. When the metal is cold, place 
the tracing with the pencil lines toward the waxed sur- 
face and rub carefully with a burnisher or any hard, 
smooth instrument. If the metal surface was clean, with 
not too much wax, an exact, clear-cut duplicate of the 
design will be assured. 


——————— ee 





Fic. 1. THe STEEL SCRATCHER AND BURNISHER 


Carbon paper can be used for most general work of 
larger size. The impression left on the metal surface will 
be greatly improved if, previous to tracing off the design, 
the surface is wiped with turpentine or gamboge. 

4. Scratch Awl and Burnisher. It is necessary in most 
cases to scratch in the design after it has been transferred 
to the metal. A piece of 44-inch square tool steel 6 inches 
long, filed to a taper, one end slightly curved and polished, 
will prove an effective and useful tool. (Fig. 1) 

5. Preparation of Metal. Annealing is to render a 
piece of metal soft by the application of heat. This may 
be done by the gas blow torch with foot bellow (Fig. 2), 
the Bunsen burner, a large-size alcohol lamp (Fig. 4) or 
zas (Fig. 5) used in connection with a mouth blowpipe. 
(Fig. 6) The ordinary gas plate may also be used to good 
advantage for heating smaller pieces of metal. 

6. Precautions. Silver and copper may be plunged into 
a liquid red-hot without the risk of cracking. 


PRELIMINARY INFORMATION 13 


Gold of less than 14 carats should be allowed to cool 
before throwing it into a liquid. 

Brass or any alloy is a treacherous metal; it should be 
heated slowly and allowed to cool gradually as there is 


——_ A 
Te 


Yy 
4 
iy} 
y 
V 
j 
y 
4 
y 
he 


ee 
OD 0029 


- a\ 


eae 5 Ss a 
DAV Ant Y N 
e' NV KZ 1 

ese: \ 





Fig. 2. Tse Biow-Torcu anp Foot-BELLOWS 


always danger of cracking the metal when it is subjected 
to a sudden blow or extreme change of temperature. 

7. Cleaning by Chemicals. ‘‘Pickle”’ is the name used 
for the cleaning solution, which consists of sulphuric acid 


14 


METALCRAFT AND JEWELRY 





Fic. 3. Gotp PENDANT CARVED AND CHASED 
BY AUTHOR 


PRELIMINARY INFORMATION 15 


and water; about one part of acid to fifty parts of water 
makes a satisfactory solution for generalwork. In prepar- 
ing the pickle add the acid to the water. 

A pickle pan or jar, a 
vessel made of copper or 
lead (Fig. 7) 1s very serv- 
iceable, as frequently the 
acid must be heated in 
order to quicken its action 
upon the metal. 

Allow the annealed 
metal to remain in the 
pickle until clean, which 
takes only a minute or 
two if the acid solution is 
boiling. Silver will turn 
pure white with a matte 
surface that is excellent 
to draw on, or transfer 
designs to. 

Copper or brass is 
scoured with water and pumice powder, or a kitchen 
cleanser such as 
Dutch Cleanser or the 
like. Use a brush ina 
circular action which 
willinsure a uniformly 
finished surface. After 
scouring, rinse in 
water; then dry the 
metal with a rag or 
heat it slightly over 
a blue flame. Fic. 5. Gas BurNER FOR SOLDERING 





Fic. 4. ALCOHOL SOLDERING LAMP 





16 METALCRAFT AND JEWELRY 


8. Baser Metals such as copper and brass are splendid 
mediums for the craftsman and adapt themselves admira- 
bly for decorative metalwork. 


























Fig. 6. Tue Mourn BLowPire 


Copper in many ways is the most useful of metals. 
Among its valuable properties may be mentioned its 
extreme ductility, which enables it to be drawn into fine 
wire, while its toughness enables it to be rolled or beaten 





Fig. 7.2 A PICKLES. 


into thin sheets. From an artistic point of view, copper is 
a beautiful metal. Many different colors can be pro- 
duced when it is subjected to various chemicals or heat 
treatments. It 1s a perfect medium for the enameler to 
work in. It is sold in sheets 30 by 60 inches. any thickness, 


PRELIMINARY INFORMATION vi 


soft, half-hard, and hard. It melts at 1,996 degrees Fah- 
renheit. 

Brass is an alloy consisting mainly of copper and zinc. 
In its older use the term applied rather to alloys of copper 
and tin, now known as bronze. It is a rich yellow shade 
and an excellent material for the craftsman. It possesses 
a high tensile strength and ductility, but care must be 
exercised in the execution of the work; frequent and care- 
ful annealing while work is in progress is necessary. It 
can not be forged red-hot and must not be quenched, as 
cracking may occur at the most unexpected moments. 
It is sold in sheets 12 by 60 inches, any thickness, soft, 
half-hard, and hard—the latter is also known as ‘‘spring 
brass.”’ Brass (containing 25 per cent of zinc) melts at 
1,750 degrees Fahrenheit. 

9. Precious Metals, silver and gold, were known from 
the earliest times and are of great importance as “noble” 
metals for articles of value—coinage, ornamentation, 
jewelry and silverware. 

Silver is one of the most beautiful of all metals—no 
metal is better to work in. Pure silver is snow-white and 
capable of taking a high polish, but it is very soft and not 
practical in making durable objects. However, it is quite 
often used for bezels or settings for delicate stones. It is 
fused at 1,873 degrees Fahrenheit. 

Sterling silver is a name given to an alloy of silver and 
copper, 925 parts of fine silver and 75 parts of copper, also 
called 925-1000 fine. This alloy is used in America and 
England in the production of jewelry and silverware. It is 
sold by refiners and assayers (see list of Dealers) in any 
quantity, shape, or gage. Bars of silver can be pur- 
chased at leading banks. 

Gold, valued from the earliest ages on account of the 


18 METALCRAFT AND JEWELRY 


permanency of its color and luster, when pure is nearly as 
soft as lead. It is the most malleable of all metals; it is 
also extremely ductile—one grain may be drawn into a 
wire 500 feet long and it has been hammered into leaves 
less than a millionth of an inch in thickness. Fine gold is 
too soft for all ordinary purposes and is usually alloyed 


D2 22? 
M27 26 2y 908% 





Fic. 8. THe WIRE GAGE 


with other metals such as silver and copper to render it 
serviceable for the manufacturer and craftsman. Gold 
alloyed with copper has a reddish color; if alloyed with 
silver, it is yellow or green. The fusing point is at 1,947 
degrees Fahrenheit. 

10. Carat. The word ‘‘carat’’ means a twenty-fourth 
part when used in connection with gold. It expresses the 
proportion of gold in an alloy. Thus, gold 18 carats fine is 
18/24 or 34 pure gold. The carat is also a unit of weight 
for gems and is equal to 3.166 grains. 

Gold as well as silver is bought from banks or refiners 
and assayers. 


PRELIMINARY INFORMATION 19 


11. Metal Gages. Many different metal gages are on 
the market for measuring the thickness of sheet-metal and 
wires. No standard exists, but the Browne & Sharpe wire 
gage is known by all dealers in America. It is important 
to specify the name and number of the gage in pur- 
chasing baser or precious metals. 

Baser metals, such as copper or brass, are sold in sheets, 
while precious metals may be purchased by the ounce or 
cut to specific size. The thickness is measured by the 
slot the metal or wire fits into. The hole at the bottom of 
the slot is just for clearance. (Fig. 8) 

12. Processes. Most metalworkers agree that the best 
result is obtained when a student is led on by carefully 
selected problems, for it is not only necessary to learn the 
process, but a certain amount of practice must also be 
acquired in order to understand and master the uses of 
the various tools. Only through diligent practice can the 
higher exercises of the craft be achieved. 

Each problem with the various processes and tools used 
will be taken up, separately in the pages that follow. 


CHAPTER II 


PIERCED WoRK 


13. The Watch Fob. (Fig. 9) Make a clean outline 
drawing on tracing paper or tissue paper, transferring by 
the beeswax method (see Sec. 3) onto a piece of sterling 
silver, 18 gage, Browne & Sharpe. Scratch in the design 
carefully with a steel point, as the work will require a 
good deal of handling, and the soft pencil line may other- 
wise be lost. 

14. Drilling. If any inside metal is to be removed, 
holes must be drilled. The hand drill (Fig. 11) is well 
suited for this work. A small-size twist drill may be used, 
but it is still better to make the drill as follows: Heat a 
needle to make the steel soft, then break off the point and 
flatten one end. Now harden it again by making it red- 
hot and quenching in water; rub it on a piece of emery 
cloth to make it bright. Temper it to a light blue color 
by drawing it carefully through a soft flame. Sharpen on 
an oilstone to the shape shown in Fig. 12 and apply a little 
water or oil to the drill point while each hole is being 
drilled. This type of drill point is known to the trade as a 
Swiss drill and may be purchased from jewelry supply 
stores. 

15. Sawing is done with what is known as a jeweler’s 
saw; a saw-frame five inch deep with a no. 0 blade is well 
suited for all-round work. (Fig. 13) 

Saw blades are purchased by the gross or dozen lots. 
They are highly tempered steel blades essentially made 
for metal cutting but can be used for cutting wood also. 

20 


PIERCED WORK 





Watcu Fos 


Fra. 9, 


22 METALCRAFT AND JEWELRY 


SuGGESTIVE. DESIGNS 
FOR PIERCED WoORK 


SHADE. ALL PIERCED PORTIONS OF THE 


DESIGN IN SOLID BLACK. (As IN B) 





Fic. 10. Drsigns ror Watcu Foss 


PIERCED WORK 23 


The finest saw-blades made, No. 000000, are about the 
thickness of a horse-hair. The heaviest blades No. 6, make 
a saw cut about 1, of an inch 
wide and are only suitable for 
cutting thick-gage metal. The 
blade should always be placed 
in the saw-frame with the teeth 
pointing toward the handle and 
clamped at the top of the frame 
first, then the frame is sprung 
and the blade tightened in the 
clamp near the handle. (Fig. 14) 





Fic. 11. Tue Hanp Dri. 








There should be a fairly high ten- 
sion on the blade as it cuts more 
accurately and doesnot break quite 
asreadily asasloppy or loose blade. 

In using the saw, hold it in an 
almost perpendicular position; 
since the teeth all point down, the 
saw only cuts on the down stroke. fig 12. Dri Poms 
A little practice soon will enable 
one to do creditable work. A V-shaped piece of wood 
screwed to the bench (Fig. 13) should be part of the 
worker’s equipment. 

16. Files and Filing. Files are known by their shape, 
cut, and size. The teeth are like a series of small chisels 








24 METALCRAFT AND JEWELRY 


cut at an angle to the sides of the file. (Fig. 15) It cuts 
only on the forward stroke. The length of the file is the 
distance from the heel to the point; the tang, or part that 
goes into the file handle, is not included in the length. 


B= DEPTH OF SAW 





Fic. 13. Tur JEWELER’s SAw-FRAME AND CuTTrina BoarpD 


Fig. 16 shows the end views of sections of files. In filing, 
the tool often gets clogged with chips of metal and should 
be cleaned frequently with a wire brush called a file-card. 
After the sawing out it is necessary to true up the irregular 
edges left by the saw. A needle file 31% inches long, of the 
shape best suited to the outline should be used for this 
purpose. 


PIERCED WORK 25 


Many different methods are used in fastening orna- 
ments to ribbon or leather. 

17. Wire and Wire Drawing. Unlimited combinations 
and shapes and sizes of wire can be produced, and the 





Fig. 14. Tuer Saw BuaApE BEING CLAMPED INTO PLACE 


decorative adaptation by the craftsman presents a rich 
field for study. Gold and silver wire can be purchased in 
any gage. (See chapter on ‘‘Dealers’’) 

The tools needed for the process of reducing the size of 
wire are a draw-plate and a heavy pair of pliers. (Fig. 17) 
A wire may be reduced to any size or shape by pulling it 
gradually through a series of holes, one after the other, 
annealing frequently. The danger of burning the wire 
during annealing may be lessened if the wire is coiled up 


26 METALCRAFT AND JEWELRY 


in a bundle (Fig. 18) and placed on a charcoal or asbestos 
block and the mouth-blow brought into use. 

Steel draw-plates can be had with holes of different 
shapes—round, square, half-round, or triangular. 


A FILE CUTS ON THE FORWARD STROKE... 





Fic. 15. ENLARGED View SHOowING ACTION OF FILE 
TEETH 


WiLLLLAN-«eLIMME lt. ~~ 


FLAT HALF ROUND KNIFE FDCGE 


a @Q 


SQUARE. TRIANGULAR ROUND 





Fic. 16. Cross-SECTIONS OF FILES 


The top and the back crossbar of the fob are made by 
drawing a piece of silver wire to a 15 gage. Roll a few links 
on a wire brad or fine nail as shown in Fig. 19; then sepa- 
rate by cutting the links thus formed with a jeweler’s 
saw. The long upper bar to hold the ribbon is bent with a 


PIERCED WORK 27 


ZAC 


Si 


£E 
Me 
eet 
Ha 


aa 


DRAW =- PLATE 





Fie. 17. Drawina WIRE 





Fig. 18. A Coit or Wire TrieED UP For 
ANNEALING 


28 METALCRAFT AND JEWELRY 


pair of round-nose pliers. (Fig. 20) Prepare and assemble 
on a charcoal block as shown in Fig. 21. Care must be 
taken that all the joints that now are going to be hard- 
soldered are clean and in contact with each other. 





Fic. 19. Maxine Rounp Links 





Fic. 20. Ture Rounp-Noss Puiers In USE 


18. Hard-Soldering. The art of soldering may be 
divided into two classes, hard-soldering and soft-soldering. 
The latter process will be explained later. Hard-soldering 


PIERCED WORK 29 


means the uniting of separate parts by the use of an alloy 
solder which melts or fuses at a lower temperature than 
the work to be soldered. It is always necessary to bring 
the work to a red-hot heat in hard-soldering. 





Tic. 21. Work PREPARED FOR SOLDERING ON TH2 
CHARCOAL BLockK 


When metals are heated, a scale called oxide forms on 
their surface. ‘To prevent the oxide from forming in the 
process of heating, a substance called a ‘‘flux”’ is applied 
to the joint or surfaces. The flux forms a coating, which 
prevents oxidation and also acts by dissolving the oxide. 
There are many fluxes, each of which has a particular 
use. 

The flux used for hard-soldering is borax. Take a piece 
of lump borax, rub this in a few drops of water on a slate 
(Fig. 22) until a thin, white, milky fluid is produced. 
Cover the joint to be soldered with this flux after the 
edges have been closely fitted. Cut the silver solder as 


30 METALCRAFT AND JEWELRY 


shown in Fig. 23; then place the tiny pieces on the edge of 
the borax slate and cover them with the flux. By means 
of a camel-hair brush, the small pieces of solder are 


LUMP BORAX 





Fic. 22. Hottow SLATE FOR GRINDING THE 
Borax 


STEP 1, CUT LENGTH’WISE.. 


CuT ACROSS. 





Fic. 23. Merruop or CuTrtTinG SOLDER 


placed on the joint to be soldered. The work is then 
gently warmed in the flame of a blowpipe to evaporate the 
water in the borax. When this is dry apply a stronger flame 


PIERCED WORK 31 


over the whole work to get it thoroughly heated. Now a 
brisk flame may be directed upon the chips of solder which 
will run as soon as the work has been brought up to the 


Fig. 24. CLAMPING oR TYING Up 
A PIECE oF WorK 


pared or purchased (see 
list of Dealers) in different 
grades, hard- and easy- 
flowing. One melts at a 
higher temperature than 
the other, which is often 
desirable when many de- 
tails are to be soldered on 
the same piece of work. A 
loam or paste made from 
jeweler’s rouge and water, 
or moulding sand or whit- 








melting temperature of the 
solder. Itis very important 
to get a quick heat, as an 
oxide will otherwise form 
on the metallic surface in 
spite of the borax. The 
solder will always run 
toward the hottest place. 
As a general rule, not 
always, boil out the work in 
the sulphuric pickle, after 
each soldering, and rinse in 
water, as perfect cleanliness 
is absolutely necessary to 
success. 

19. Silver Solder is pre- 


SS———S eee _) 
1 


HAMMER THE ENOS FLAT 


2 
BEND THE ENDS 


SHAPE. WITH ROUND NOSE, PLIERS 


Fic. 25. How tro Make SMALL 


TRoN CLAMPS 


32 METALCRAFT AND JEWELRY 


ing is useful as a protective in fine soldering where seams 
or previously made joints must be protected. 

20. Iron Binding Wire, also called annealed iron wire, 
is used extensively to tie up separate units to be soldered. 
Three different gages, Nos. 15, 22 and 28, should be on 


OE SEYaPEER 


kil "TTT uh 


Fic. 26. Wire ScratcH BrusH, BrAss oR STEEL 





hand. Fig. 24 shows two methods of tying up a small job 
before soldering. The clamps are made from the 15 gage 
wire as shown in Fig. 25. Before boiling off in pickle 
remove all iron wire or clamps to prevent discoloration. 
When the tool work is finished emery cloth or paper is 
used on the surface and edges. Flat work can be placed 
face down on No. 00 emery paper on a level bench top. 

21. Final Pickling. Scrub the work with fine sand or a 
scratch brush and water (Fig. 26); then anneal and boil 
in the pickle solution. If it does not turn pure white 
repeat the process of scrubbing, annealing, and pickling. 
For finishing see Chapter XI. 


CHAPTER III 


PINS AND BROOCHES WITH SETTINGS 


22. The possibilities in designing hand-wrought jew- 
eiry are increased many-fold when we can deal with three 
dimensions. The setting of precious or semi-precious stones 
gives the article a commercial as well as an artistic value. 

In applying one piece of metal on the top of another by 
means of solder or rivets, more relief is given to the work. 
This added material gives more thickness, which in turn 
enables one to carve and shape or mold the design. 

The brooches in Figs. 27, 28, and 29 are problems 
involving the making of a simple setting and soldering 
one piece of metal on the top of another. Work of this 





Fic. 27. Stitver Broocu 
By Miss G. Schmidt 


nature is not beyond the ability of the average student; 
care, however, must be exercised in not making the de- 
sign too intricate. 

Let us assume that the stone to be used is cut in what 
is known as a cabochon shape; that is, a stone having a 
smooth curved surface. (Fig. 30) Translucent and opaque 
stones are usually cut in a cabochon shape which brings 

30 


METALCRAFT AND JEWELRY 





Fic. 28. SInver 
PINs 


PINS AND BROOCHES 


Hiay 29. 





DrsIGNS FOR BROOCHES 


36 METALCRAFT AND JEWELRY 


out their color and luster. For places to purchase stones 
see the list of Dealers. 





Fic. 30. MAKING A CLOSE OR 
Box SETTING 


SQUEEZING A 
‘ SETTING INTO SHAPE 


Pigs ok. 


23. The Close Setting, 
also called box or bezel set- 
ting is the simplest form of 
setting to make. Cut a 
band of silver about one 
eighth of an inch wide, gage 
28, Browne & Sharpe. Bend 
the strip so that it fits closely 
around the stone. (Fig. 30) 
Mark the exact place of the 
seam and cut to size. The 
flat-nosed pliers are now 
used to squeezeit gently into 
shape. (Fig. 31) The ends 





SQUEEZING A SETTING INTO SHAPE 


must meet perfectly before any soldering is attempted. 
There must be contact between the two ends to unite them. 
Placing the bezel on the charcoal block as shown in Fig. 
32, with an iron staple (made from binding wire) to pre- 


PINS AND BROOCHES 37 


vent it from rolling off, cover the joint with borax and a 
tiny piece of solder and apply heat with the mouth blow- 
pipe. (Fig. 33) Care must be taken not to get it too hot, 
as it is thin material and easily melted. When it is prop- 
erly soldered place the bezel on a tapering steel mandrel 
or small-horn anvil and tap it with a light hammer(Figs. 
34 and 35) until it 
is true and round. 

A setting can 
always be made 
larger by tapping it 
with the hammer on 
the mandrel, but if 
it is made too large | ou staple 
it will have to becut L“A0= FROM BINDING wire 
open and a piece Fig. 32. SOLDERING A BEZEL ON A 
taken out, then re- CuarcoaL Biock 
soldered. 

The setting can be squeezed to any shape with the 
round- or flat-nosed plier after the trueing up. Level the 
bezel thus made by rubbing it on an 8- or 10-inch flat mill 
file. (Fig. 36) The stone must fit perfectly and not too 
tight; pressure exerted on the stone while Tyne it in the 
bezel may result in chipping it. 

24. The Brooch (Fig. 37) is cut or pierced fein two 
pieces of silver, the lower part from gage 20 and the upper 
from gage 22. Trace the top part of the design, transfer 
to the silver and saw it out, (Fig. 37-A) File all edges 
clean and true and scrape the under side clean. This is 
now soldered to the piece of 20 gage silver. (Fig. 37-B) 
When two pieces of this character are to form the orna- 
ment, thought should be given to the part which forms 
the lower layer of the design. The surface should be 





38 METALCRAFT AND JEWELRY 


finished with No. 00 emery cloth. Apply borax on both 
pieces of metal before clamping together. The solder 
must be put sparingly on the outside edges where any 
surplus can easily be removed afterwards. 





Fig. 33. SOLDERING WITH ALCOHOL LAMP 


25. The Heat Application should be quick to make the 
solder run through. Remove the iron clamps or wire, then 
boil in the pickle solution and rinse in water. The lower 
part of the design is now pierced with the saw (Fig. 37-C), 
and all edges and the top surface are filed clean and smooth 
and finished with No. 00 emery cloth. 

26. The Bezel which has been previously made is now 
dipped in the borax solution and placed in position on the 
brooch. (Fig. 87-D) Two or three small pieces of solder 


PINS AND BROOCHES 39 


TAPERED 


STEEL MANDREL. 





Fic. 34. STRETCHING A BEZEL ON A STEEL MANDREL 


STRETCHING A SETTING 


) 
S’ HORN ANVIL 





Fic. 35. JEWELER’s Horn ANVIL IN USE 


are placed on the inside of the bezel, touching both the 
bezel and the base. If the borax is allowed to dry before 
heat is applied, there is not much danger of the bezei 


40 METALCRAFT AND JEWELRY 


being moved out of place. The center part shown in black 
in Fig. 37-E is now sawed out, leaving enough metal near 
the setting for the stone to rest on. Catch and joint are 
very rarely made, as they can be purchased in any kind of 
metal at a low price in any jeweler’s supply house. A 
small piece of solder is placed next to the joint and catch 


a” 
FLAT FILE , DEAD SMOOTH. 





Fic. 36. Levetinc Up THe BEzEeu 


after they have been properly cleaned and borax applied. 
It is advisable to raise the object from the charcoal block 
so that the flame can be directed under the work. If the 
heat is directed on the joint or catch, the solder will flow 
upon them. The whole object must be heated up gradu- 
ally, and the flame then concentrated where solder should 
run. Solder will always flow towards the hottest spot. 

The brooch is then pickled, rinsed, and scratch-brushed. 
The pin is fitted into the joint and a piece of wire is filed 
to a taper (Fig. 38) and forced through joint and pin; the 
projecting ends of wire are sawed off or clipped off close 
to the joint with a pair of cutting pliers. 

27. Setting the Stone. A place to hold the work firmly 
while the stone is being set is made from a piece of wood 
about 1) inches square and 4 inches long with some dry 
orange shellac or chasing pitch melted on one end of 
block. (Fig. 39) While this substance is still soft press the 


PINS AND BROOCHES 


STEPS IN THE MAKING OF BROOCH. 


CUT INSIDE AND QUTSIDE OF DESIGN 


SOLDER ON *THE. BEZEL 


REMOVE PART SHOWN IN BLACK. 


—<—<—<—<— aoe 


jee OS ) AF coin 


SOLDER VOINT AND CATCH ON THE BACK 





Fic. 37. DersIGN or A BroocH AND SEVERAL STEPS IN 
Its MAKING 


4i 


a2 METALCRAFT AND JEWELRY 


SHELLAC OR PITCH 


TAPERED 


FILE WiRE TO A TAPER AND FORCE 
INTO HOLE. IN JOINT AND PIN. 





Fig. 38. Forcinac TAPERED WIRE INTO 
JOINT AND PIN 





Fic. 39. Buiock witH 
CEMENT 





Fic. 40. Firrinc STonE INTO 
BEZEL 





Tlie. 42. Sperrina a STONE 


Fic. 41. A Loose INNER BEzEL 


PINS AND BROOCHES 43 


work into it, then allow it to get cool and hard. This 
provides a good base where the work is held firmly. The 
stone is fitted into the bezel by pressing a small piece of 
beeswax on the stone (Fig. 40); this grips the stone so 
that it may be tried in the bezel and easily removed. The 
rim of metal is now filed down to the proper height, which 
is determined by the height of the stone. Care must he 





Fig. 48. Pusutne Tooits Usep 
FOR SETTING A STONE 


taken not to get the bezel too low as there must be 
enough metal to cover the edge of stone. If the stone sits 
too low it may be raised or heightened by inserting an 
inner bezel. (Fig. 41) The edge of the bezel is pushed or 
hammered toward the stone, working at opposite points 
as 1, 2, 3, 4 in Fig. 42. The irregularities left from setting 
can be smoothed out with a burnisher. 

By heating the work slightly over an alcohol lamp, it 
can easily be removed from the shellac or pitch. If any- 
thing adheres to the under side, it can be dissolved with 
alcohol or turpentine. If the work is greased a trifle be- 
fore it is placed on the pitch, it can be removed clean. 


44 


METALCRAFT AND JEWELRY 


TOOLS USED FOR SETTING UP 
STONES 


— 
y= > 
7M ye 
! , 


BURNISHER IN USE 











GRAVER FOR CUTTING THE BEARING 





Fic. 44. Setting a Sronn, anp Toots UsED 


TOOHOG IVNHON ALVIG ATMOVM TIP AHL 40 SLNECALG FHL AM WUOM “CP ‘OI 


oa) 
RQ 
ca 
< 
SS 
3) 
RS 
m 
a) 
= 
—T 
R 
= 
KY 
AY 





46 


METALCRAFT AND JEWELRY 








Fig. 46. SirveR Work sy Stupents—Bar Pin, Warcu 
Fos, SHoE BucKLES 


SOAR THR LV 


Pins AND BroocHeEs with Licgut CARVING 


28. The designs shown in Fig. 47 all require a little 
carving to make them interesting. The process will be 
described by using a type problem. (Fig. 48) The upper 
part of the design is tranferred by the beeswax method 
described in Sec. 3 to a piece of silver of 20 gage, and care- 
fully pierced out with a jeweler’s saw No. 0. It will now 
have the appearance of the top illustration in Fig. 48. 
All inside edges must be filed clean before they are sol- 
dered on to the lower base, which ought to be a slightly 
lighter gage metal, about 22. It should be clamped on or 
tied up with light iron binding wire as shown in Fig. 24 
care being taken that the two surfaces to be soldered were 
cleaned and free from dirt and grease. The silver solder 
should all be placed on the outside, as it will run through 
if sufficiently heated and leave smooth inside edges. The 
same kind of bezel or setting is made as in the first prob- 
lem and scldered in place in a similar manner, the solder 
placed on the inside of the bezel and allowed to run out. 
The work should now be boiled in the pickle solution, 
which cleans it and dissolves all borax. The outside metal 
is sawed off, also the inside of the setting, leaving enough 
for the stone to rest on. 

The work must now be fastened to the pitch block (Fig. 
39) for the purpose of holding it while it is being carved. 
Heat the pitch over an alcohol lamp and shape it with a 
wet thumb and forefinger to fit the work. Now grease the 
back of the work with a small amount of oil and heat it 

47 


48 


Fig. 47. 


METALCRAFT AND JEWELRY 


BROOCHES. 





DESIGNED FoR LiguT CARVING 
AND CHASING 


LIGHT CARVING 49 


STEPS IN MAKING CARVED BROOCH. 


SAW OUT UPPER LAYER. 20 GAGE METAL. 


SOCDER TO, BASE PIECE 22 GAGE METAL, 


(Tem [aot ates 


MAKE REZELO AND SOLDER IN PLACE 


pepe ieee 3 


ee 


SAW OFF OUTSIDE METAL 


AND CENTER OF BEZEL. 


SET UP ON PITCH BLOCK AND CARVE. (SEE TEXT ) 
TOUCH UP WITH CHASING TOOLS. 
SOLDER JOINT AND CATCH ON BACK. 





eo Dice ANNO ot. dpttibasot ONE: 


Fic. 48. PRINCIPAL STEPS OF OPERATION IN MAKING A 
BroocH 


im 


50 METALCRAFT AND JEWELRY 


slightly before attaching it. This will cause it to stick to 
the pitch better, and at the same time it will also cause 
it to come off cleaner and more quickly when it is finished. 





Fig. 50. Tort ENGRAVER’s BALL 


29. The tools required for metal carving are called 
‘‘oravers’’ and can be purchased in numerous shapes and 
sizes. However, a 14-inch flat and a inch round graver 


LIGHT CARVING 51 


are all that are needed for this work. (Fig. 49) The tool 
should be sharpened on a fine oilstone in very much the 
same manner as a chisel is sharpened. Remember that 
good work can never be done with dull tools. 

The object of carving is to shape or mold the design by 
cutting away part of the metal. Here one’s own concep- 





Fig. 51. Work Berne Carvep. ATTACHED TO PitcH BLocK 
AND HELD IN THE ENGRAVER’S BALL 


tion or interpretation of the design enters in. The pitch 
block is held firmly in an engraver’s ball (Fig. 50) by 
means of a set-screw. This ball is placed in a ring (Fig. 
50-B), made from an old piece of belting, where it can be 
turned in all directions. The graver is held in the palm 
of the right hand and the point of the thumb should rest 


D2 METALCRAFT AND JEWELRY 


on the work and serve as guide for the tool. The left hand 
clinches the block firmly as shown in Fig. 51. The metal 
is removed chip by chip until the desired shape is obtained. 





MADE FROM GQUARE TOOL STEEL. 4 INCHES LONG, 





Fig. 52. A Frew Userunt CHasing Toots 





Fig. 53. CHastinc HAMMER 


The cutting marks left by the gravers are removed by file, 
scraper, or chasing tools. 

30. Chasing is a name applied to a process whereby the 
metal surface is treated, decorated, or shaped with the 
use of punches called ‘‘chasing tools” (Fig. 52) and a 


LIGHT CARVING 53 


small chasing hammer, (Fig. 53). A few chasing tools will 
suffice for simple work of this character. Cut 14-inch 
square tool steel into 4-inch lengths and file to a taper. 
Shape one end to forms shown in Fig. 52. The surface of 
the work is tooled over to give it a hammered texture. 
The method of holding the tool and hammer is shown in 
Fig. 55, and the process explained fully in Chapter VI, 





Fic. 54. Gotp BroocH CARVED AND CHASED 
BY AUTHOR 


The small balls or beads for the center of the flower are 
made by fusing two small pieces of silver on a charcoal 
block. A perfect circular bead is obtained by melting the 
metal in a smooth, round depression in the charcoal block, 
a little borax solution being applied beforehand. If many 
beads of the same size are required, cut links from a coiled 
piece of wire and fuse. This will result in a uniform size of 
beads. To solder the ball in the center of the flower, a 
small piece of solder is first fused in the cavity made; 
then the ball is placed in the depression and the whole 


54 METALCRAFT AND JEWELRY 


brooch heated until solder runs on the ball. The joint 
and catch are soldered in place next. The work is now 
boiled in the sulphuric-acid solution and scratch-brushed, 
then oxidized. The stone is set as explained in Sec. 27. 





Fie. 55. An Artist at Work CHASING A SILVER BowL 
By courtesy of the Gorham Co., New York 


31. The Scarf Pin. The main attraction in a scarf 
pin is usually the stone. Great care should be exercised in 
building up the design around the stone. The problem of 
making any of the pins shown in Fig. 56 is not difficult but 
one must have had considerable practice in manipulating 


55 


LIGHT CARVING 


9) 
4 
i 
in 
or 
< 
O 
0 





DESIGNS FOR SCARF PINS 


Fie. 56: 


56 METALCRAFT AND JEWELRY 


STEPS IN MAKING SCARF PIN 


eS. aa 


MAKE THE BEZEL SAW OUT THE LEAVES 
GAGE 28 GAGE 22 


SOLDER THE BEZEL 
ON BASE OF 20 GAGE. 
METAL. 


IRON CLAMP 


MOUNT LEAF DESIGN 
AND SOLDER ON. 
CLEAN BY BOILING 
INNS ACID. 


DRAW ON THE DESIGN 
AND SAW OUT ALL. THE 
PLACES MARKED IN 
BLACK 


» SAW THE OUTSIDE SHAPE... 
FILE AND FINISH THE EDGES. 
. SOLDER PIN STEM ON BACK, 
CLEAN AND OXIDIZE.. 
SET SHE Sas Nic. 





PIG 7s eek Stee PIN IN THE MAKING 


LIGHT CARVING 57 


tne jeweler’s saw. Small work always requires more 
patience and greater care in execution than larger work. 
Assuming scarf pin No. 3 in Fig. 56 is to be made, pro- 
ceed by making the single bezel for the stone from 28 gage 
metal as previously explained. Saw out with a No. 00 
jeweler’s saw the top layer, which in this case consists of 


IRON BINDING 
WIRE, 22 GAGE. 


FORCE. INTO 
CHARCOAL 





Fig. 58. Mertrxop or Houpina PIN 
STEM IN PLACE WHILE SOLDERING 


the two leaves with stems. A 22 gage metal will be suit- 
able for this. The bezel and leaves are fitted carefully 
together. The bezel is next soldered on the base of a 20 
gage metal which has been thoroughly cleaned with emery 
cloth. The leaves are placed next and tied in position with 
fine iron binding wire or clamps and soldered. The pin is 
now boiled in the diluted sulphuric acid solution and the 
balance of the design drawn on and sawed out. The black 


58 METALCRAFT AND JEWELRY 


places are cut out first, then the inside of the bezel, leaving 
enough for the stone to rest on. Finally the outside is cut 
to shape, and the saw marks filed off on edges and finished 
with No. 00 emery cloth. The steps of the operation are 
shown graphically in Fig. 57. The scarf pin stem is usu- 
ally made from German silver wire, gage 18 and 3 inches 
long, because this metal is somewhat harder than sterling 
silver and does not bend quite as readily. 

File the wire flat on one end and make a ring of silver 
wire to fit the stem. When this ring is soldered on to the 
base it adds great strength. (Fig. 58) The pin stem is 
soldered on in an upright position, held in place by a piece 
of iron wire, 22 gage, which has been forced a little way 
into the charcoal block. This arrangement will prevent 
the wire from absorbing more than the minimum amount 
of heat while being soldered on. Clean by boiling in acid 
solution and scratch-brushing. The pin stem is bent to 
proper shape by holding it next to the base with a pair of 
round-nose pliers and bending it into position with the 
fingers. The oxidation or coloring of the work may be 
done either before or after the stone is set; it depends 
largely upon what kind of stone is being used. Some 
stones are porous and soft, such as corals or pearls; others 
contain large proportions of minerals that are sensitive 
to the oxidizing solutions, such as malachites or azurites, 
which are carbonate of copper, a form of high-grade copper 
ore. Work holding such stones should be oxidized before 
the stone is set, or great care must be taken in not getting 
any of the oxidizing agent on the stone. 


"SIM ‘SHMAVM TITY, “IOOHOG IVWHON GLVLIG AHL dO SINAGALG AM MUON ‘6G ‘DIY 


as 
=, 
cot 
— 
ce 
s 
> 
ee 
is; 
~y 
es) 





50 


METALCRAFT AND JEWELRY 





Fic. 60. SILVER Cross 


CHAPTER V 


Rinc MAKING 


32. Pierced Work should first be practiced by the 
student. Not until that has been mastered should more 
elaborate designs be attempted. The size of the ring must 
be known first. This is found by using a ring gage. The 
length of the circumference of the ring can be measured 
by using a narrow strip of paper. A stone is usually the 
central feature of aring. For a start it is well to choose an 
oblong and not too wide a stone; then what is known as a 
box setting can be used to hold the stone. Make a care- 
fully drawn tracing of the design and transfer it to a piece 
of 18 gage silver. Now scratch in the design with a steel 
point and saw the outside contour. The ring blank is then 
filed accurate and clean. Then bend the ring by placing 
it across a shallow groove in a block of wood and tapping 
with a round piece of iron or a ring mandrel and a mallet 
to give it the first curvature. (Fig. 61) Now hammer the 
ends together and saw through the joint with a jeweler’s 
saw. This will insure a perfect joint, which is then ready 
to be soldered. It is not necessary to try to make the ring 
perfectly round before it is soldered. 

The soldering is performed as explained before on the 
charcoal block with mouth blowpipe or torch. Quick, 
even heat is essential. If solder runs to one side of the 
ring it is because one side has become hotter than the 
other, for solder will always run to the hottest place, or 
it may be the joint has sprung apart. If that is the case 
set it cool and force the ends together for there must be 

61 


62 METALCRAFT AND JEWELRY 


STEPS IN MAKING RING. 





Fic. 61. Brenpinc a Ringe BLANK AND THE SUCCESSIVE. 
OPERATIONS 


RING MAKING 63 


STEPS IN MAKING RING. 


he 


ft 
Baa hk pte 
¢ 


wie a ee | 
se 


















a 








[—l—~ a= 
+) DAPPING TOOL 


K \ Oo0O000 


STEP! THE DESIGN, 
un 2 SAW OUT RING BLANK, SOLDER. 
» & MAKE DOUBLE BEZEL. SOLDER TO RING, 
n 4@ TWIST WIRE , MAKE THREE RINGS. 
» &§ SAW OUT LEAVES .MAKE BEARS. 
" G@ MOUNT DIFFERENT PARTS. SOLDER 
" T FINISH EDGES, 


Omar. Te. OT ONE 


Fic. 62. Rina DrsiGN witH SIMPLE APPLICATION WORK 





64 METALCRAFT AND JEWELRY 


contact between the two pieces to solder them. Clean it 
in the pickle and place it cn the ring mandrel and hammer 
it until it takes a round shape. Reverse it once or twice on 
the mandrel to prevent it from taking a cone shape as 
the ring mandrel is tapered. It is advisable to procure a 
hardened ring mandrel with standard graduation of sizes, 
similar to the one shown in Fig. 34. 





Fic. 638. ScaraB RinG, CARVED 
AND CHASED 


The bezel for the stone must now be made. File the 
lower side to fit the curvature of the ring, place it where it 
belongs and tie it to the ring with a piece of iron binding 
wire (Fig. 61, step 6). Place the silver solder inside of the 
bezel and solder on. Drill holes for the different places 
to be pierced, also one inside the bezel; saw out an oval 
but have enough metal for the stone to rest upon. All 
edges are filed clean and finished with emery paper. The 


RING MAKING 65 


setting is filed down to proper height to fit the stone. 
Anneal the ring and boil in diluted sulphuric acid, then 
set the stone as previously described. For oxidation see 
Chapter XI. 

33. Rings with Applied Work. There are numerous 
possibilities in simple ring making by using twisted wire 
or leaves and flowers. To make a ring as in Fig. 62 cut 





Fic. 64 


with the saw the outside shape from 20 gage silver. File 
the edges, bend and solder together. Make a double 
bezel to fit the stone; file it to conform to the shape of the 
ring and solder in place. Double up a piece of 24 gage 
wire and twist it. Anneal and cut three pieces, making one 
ring to fit around the bezel and two separate rings the 
size of the largest diameter of ring, bent to fit the outline; 
then solder on. Cut the leaves from somewhat thinner 
silver; dap up from the back on a block of wood or lead to 
give them a slight relief; then file the outline clean and 
accentuate the midribs. They are now fitted in place and 
soldered on to the ring. Fuse small pieces of silver on the 
charcoal block to form the beads, as previously explained. 


METALCRAFT AND JEWELRY 


Fic. 65. PENDANT. SWALLOW AND WILD Rose DESIGN. 
CARVED AND CHASED BY AUTHOR 





RING MAKING 67 


It is well to finish all the soldering on one side of the ring 
before turning it to solder the other half. Boil out in 
pickle solution; file the bezel down to proper height and 
set the stone. This may be done by holding it in a ring 
clamp (Fig. 92) while the metal is pushed over the stone, 
or it may be slipped on the tapered ring mandrel. 

34. Rings, Carved and Chased. The rings (Figs. 63 
and 64) are made from heavy-gage metal, about No. 12, 
soldered together, and stretched on the ring mandrel to 
size. The double bezel is made and the place marked on 
the ring blank where it eventually will go. The design is 
now worked or modeled into shape with the aid of carving 
tools (graves). The final touches are put on with the 
chasing tools, the ring being embedded in pitch while this 
work is going on and held clamped in on the engravers’ 
ball (Fig. 50). 


68 


METALCRAFT AND JEWELRY 





Fic. 66. SritveER PENDANTS witH Moon STONES 


CHAPTER VI 


CHASING AND REpoussk WorRK 


35. Chasing is the art of enriching a metal surface by 
means of using steel tools or punches called ‘‘ chasing tools”’ 
and a hammer called a ‘‘chasing hammer.”’ The surface 
treatment or touching up of a casting to remove the rough- 





I'tqa. 67. Usine THE BUNSEN BURNER 
FOR HEATING THE PITCH 


ness is included in this name also. Repoussé, meaning in 

French ‘‘driven back,’ is the art of raising or modeling a 

design upon a sheet of metal into high or low relief with 

the aid of hammer and punches without removing any of 

the metal. The term “‘embossing”’ is often erroneously 

used. This latter process consists of embossing by mechan- 
69 


70 METALCRAFT AND JEWELRY 


ical means such as stamping, and therefore is not con- 
sidered an art. Repoussé is of ancient origin; wonderful 
and noteworthy examples are to be seen in many of our 
museums. It was, however, not until the middle of the 
sixteenth century that Benvenuto Cellini (1500-1571). 
the famous goldworker and chaser of Italy, brought the 
art to the highest point of excellence by the production 
of many masterpieces, some of which are still to be seen 
in the European art collections. 

The elementary principle of the method, after the due 
preparation and annealing of the metal, is to affix the metal 
plate to a “‘pitch block” by warming the pitch with a soft 
gas flame, such as a Bunsen burner (Fig. 67) or an alcohol 
lamp, until it becomes plastic or dough-like. The metal 
is then oiled slightly on the side that is going against the 
pitch, and is heated and attached. When the metal and 
pitch have become cool, the design is drawn or transferred 
upon the metal. (Fig. 68, Step 1) 

The outline of the design is now indented into the metal 
by means of a hammer and steel punch called a “‘tracer”’ 
——a, blunt tool resembling a chisel. Sharp tools would be 
liable to cut the metal and cause injury for the process to 
follow. (Step 2) 

The metal is now taken off the pitch, annealed, and 
cleaned. The outline of the design is now visible on the 
reverse side of the metal and will serve to guide the worker 
in hammering it up into proper relief. (Step 3) 

The metal is again attached to the pitch, this time with 
face down, and the design is now hammered up into 
proper relief with blunt chasing tools. The object is to 
raise enough metal so that there will be plenty to model 
the design from. The metal is again removed from the 
pitch, annealed, and cleaned. (Step 4) 


CHASING AND REPOUSSE 71 





Fic. 68. SHOWING THE DIFFERENT Steps IN MAKING A SCARF PIN 
IN REPoussE WorRK 


72 METALCRAFT AND JEWELRY 


Reattach the metal to the pitch, then model into the 
desired shape. To put feeling and expression into this 
requires careful study and much practice. (Step 5) 

If it is a piece of jewelry, as in this case, the design may 
be sawed out with a jeweler’s saw, the setting for the stone 
soldered into place and the edges finished with needle 
files and emery cloth. The pin is then soldered on to the 
back as previously described. Set the stone, then oxidize. 

36. The Pitch. There is no substance that can take the 
place of pitch as a base for the metal while the design is be- 
ing executed in repoussé or chased work. It is composed of: 


Piteh oo iy ees oe oe oy on 3 sat er 1 1b 
Plaster of paris or whiting........-. 732 eee 2 Ibs. 
Tallow. 2.0. 0. beg a se oe er 1 oz. 


This mixture can be made harder by adding powdered 
resin, or softened by adding more tallow; common candles 
will do. The kind of pitch that is best suited for this work 
is what is known as crude Swedish pitch; however, pitch 
that is purchased at shoemakers’ supply houses answers 
the purpose. (See list of Dealers) 

37. Preparation. Melt ‘the pitch in a pot (not tinned) 
over a slow fire. Add little by little the plaster of paris or 
whiting, stirring it continually. It is important that there 
be no moisture in the latter, as it will otherwise boil over. 
When this has been thoroughly mixed the tallow is melted 
and added. This compound, while being sufficiently hard, 
is elastic, solid, adhesive, and easy to apply and remove. 
Pitch which has been used before works much more freely 
than new or newly prepared pitch. 

38. Chaser’s Pitch Bowl. A chaser’s pitch bowl (Fig. 
69) is a hollow cast-iron half-ball filled with pitch. It is 
about 6 inches in diameter and rests in a ring made from 
114-inch old belting, or on asandbag. The spherical shape 


CHASING AND REPOUSSE 


METAL PLAT E 
ATTACHED 


CROSS SECTION OF: 
CHASERS PITCH BOWL 





Fic. 69. DirreRENtT Ways or AT- 
TACHING METAL PLATE TO PITCH 


73 


74 METALCRAFT AND JEWELRY 


combined with its weight renders this very useful, as it 
can be turned into any convenient position the chaser 
may desire, and it is firm and solid to strike on. 

39. Chaser’s Pitch Block. This can be made in many 
sizes; the important thing is to make it heavy enough and 
to have plenty of pitch piled on top. If placed on a sand- 
bag it responds well to the blow of the hammer with only 
little vibration. Fig. 69 shows another type of wood block 
with pitch attached to top. ‘This block, however, must 
be screwed into an engraver’s ball (Fig. 50) to hold it 
firm. This style of pitch block is very handy and practical 
for small work as it can be released quickly and held over 
an alcohol lamp when it becomes necessary to heat up the 
pitch or turn over the work. 

40. Heating the Pitch. This process demands the great- 
est care, as any scorching by excessive heat will cause the 
pitch to lose its adhesiveness. The gas blow torch (Fig. 
2), the Bunsen burner, or alcohol lamp are well suited for 
this process. 

41. Attaching the Metal to the Pitch. Warm the sur- 
face of the pitch without burning it and, having pre- 
viously greased the back of the metal very slightly (that 
is, the side which is to come in contact with the pitch), 
place the metal on the pitch and press down gently. If 
there should be any doubt as to adhesiveness, subject 
the whole to additional heat quickly and apply light pres- 
sure again. There is a “‘knack”’ about this operation, but 
a little practice will soon overcome any difficulty. It is a 
very important part of the chaser’s work to be able to set 
up his work properly and to avoid getting air bubbles 
below the surface of the metal upon which he is to work. 
The pitch should be brought over the edges of the metal, 
as shown in Fig. 69 at A, to keep it firmly fixed. 


CHASING AND REPOUSSE 75 


42. A Chaser’s or Repoussé Worker’s Hammer (Fig. 
53) can be purchased at any jewelers’ supply house. This 
necessary tool has a broad flat face about % inch in 
diameter and a round-nosed knob which is very useful for 


TRACERS 


& &® cm mm & 


| | | 
| d 

i) OU | ! — 
24aha. Ltr, 2220. Whit? wots LZ 


GROUNDING OR MATTING TOOLS 





Fig. 70. CuHastne Toous, THE Most IMporTANT SHAPES 


many different purposes. The handle should be of a con- 
venient length, about 9 inches, and made from a piece 
of straight-grained hard wood. The greater part of the 
handle must be thin and slender to give it elasticity for 
rapid hammering. It is a great comfort to have the butt 
of the handle pear-shaped; it gives a good grip and enables 


76 METALCRAFT AND JEWELRY 


the worker to bring the full weight of the hammer into 
the blow. 

43. Making Chasing Tools. The punches known as 
‘‘chasing tools” (Fig. 70) are made from a selected grade 
of steel called ‘‘crucible steel’? and often spoken of as 
‘“‘tool steel.’’ This can be bought by the foot length in an 
iron store and is made square, round, and hexagonal in 
shape. The square and round steel is best adapted for the 
making of chasing tools. It is well to have on hand several 
sizes so that a particular shape can be made when needed: 
3, 4%, 3, and 74-inch round and square stock are good 
sizes to have on hand. Cut the steel with a hack-saw, or 
notch it with a file and break into 4-inch pieces. Avoid 
having the punches too long; a short tool is manipulated 
more easily and has a better touch than a long one, due to 
less vibration while being hammered upon. Before begin- 
ning to shape the tools it is well to make them red-hot and 
lay them aside to cool slowly to insure a softened condition 
before filing. There are many distinct forms of chasing 
tools but the great number of tools required by the chaser 
and repoussé worker is due to the many different kinds of 
work he is called upon to do; this is quite unnecessary to 
the beginner. The forms shown are useful tools for a start. 

File the steel blank in a vise to a taper with an 8-inch 
bastard file. When it has taken the general form, screw it 
into a small hand vise (Fig. 71) and finish to desired shape 
with an 8-inch smooth flat file and emery cloth. To give 
the tool point a matte finish, hammer it on a piece of 
emery cloth. It is very essential that the central axis 
between the two bevels be kept absolutely even and true, 
as the tool will otherwise feel springy and make it difficult 
to true a line or control it. Sharp-cornered tools should be 
avoided; make them blunt and smooth. The object is to 


CHASING AND REPOUSSE a7 


stretch the metal back and forth, not cutting it or reducing 
it in thickness, which sharp tools would naturally do. 

44, Hardening and Tempering. The peculiar charac- 
teristics of steel, except the very lowest grades, are that 
when the metal is heated to a little more than cherry-red 
and suddenly quenched in water or oil it becomes exceed- 
ingly hard, and that by subsequent heating and cooling 





tig 7 “Pure Hanp 
VISE 


the hardness may be reduced to any degree that is desired. 

45. To Harden a Steel Tool. The shape must first be 
obtained; then cover the part to be hardened with a little 
soap. This precaution prevents scaling of the metal. The 
steel is then brought to a bright red heat and plunged 
instantly into water. This makes it hard and brittle. 

46. To Temper. Rub the steel bright on a piece of 
emery cloth; then draw it through a soft flame (alcohol or 


78 METALCRAFT AND JEWELRY 


gas) slowly. Notice the changes of color; when it reaches 
a deep straw-color plunge it into water. This operation of 
reheating after the hardening process is also called ‘‘draw- 
ing.’ The first color noticeable is a faint yellow; this 
indicates that the steel has lost some of its hardness and 
has become toughened. After the yellow it takes a blue 
color; after that it passes into a stage where it is soft 





Fig. 72. Cuasina Toot TRACING A 
LINE 


again. Drill points, gravers, and scrapers may be hardened 
and tempered in the same manner. 

47. Holding the Chasing Tool. It is a very important 
thing to learn how to hold the chasing tool in the proper 
manner. (Fig. 55) Notice the end of the third finger 
rests on the metal as a pivot with the small finger pointing 
out. It is no easy matter to get perfect control of the tool, 
but by persistent practice it can be acquired and a wonder- 
ful touch developed. A line is always traced toward the 
worker, the blow of the hammer vibrates the tool and 
sets it in motion when it is properly guided. 

48. Preliminary Exercises in Repoussé Work. Not 
much in the field of art can be accomplished without study 


CHASING AND REPOUSSE 79 


and practice. This is especially true of chasing where the 
mastery of directing the punches and judging the blow of 
the hammer means everything. For the beginner it may 
be well to attempt a little practice work. Attach a piece of 
thin annealed copper or brass (gage 26 B. & S.) to the 
pitch block as previously described. Design a border com- 
posed of straight and curved lines and watch the effect 
that is produced on the side of the metal that is embedded 
in the pitch. This is done with chasing tools called 
“tracers” or “‘liners.”’ Tracers are punches made to re- 
semble chisels at first, then the sharp edges are made 
blunt with fine emery cloth or a file because the object is 
to stretch the metal and not to cut it. (Fig. 72) Tracers 
are made with edges straight or more or less curved. The 
ornaments shown in Fig. 73 are made in a similar way, all 
on the reverse side of the metal. Flower studies made in 
this way are comparatively simple as they give the worker 
great freedom of action. This simple type of chasing, 
however, demands imagination; as the work is really done 
from the back side, every depression made on the metal 
will show up in relief on the other side. ‘This kind of 
chasing is done mostly with punches having rounded sur- 
faces called ‘‘planishers,”’ oval or rounded modellers. 
The lettering in Fig. 73 is made entirely from the back 
side also. Lettering is of course more difficult as greater 
accuracy is required but it is well within the scope of the 
beginner to attempt. 

The surface decoration on the walnut jewelry box (Fig. 
74) is made of copper. The outline of the design is traced 
in with the chasing tools on the pitch block. The shaping 
or modeling is done also on pitch but from the reverse 
side, the pitch being somewhat warm to make it give more 
easily. The entire design is pierced out with the jeweler’s 


80 


METALCRAFT AND JEWELRY 





Fic. 73. Practice Work In Repousst MApE 
ENTIRELY FROM Back SIDE OF METAL 


CHASING AND REPOUSSE 81 


saw. The bell button and brooch (Figs. 75 and 76) are 
made in a similar way. 

The back comb (Fig. 77) is a piece of repoussé work, 
hammered up on gage 22 silver, worked alternately from 
the front and back. It is frequently necessary to turn such 
work many times on the pitch before it has taken its 








sii 


Fie. 74. Jeweury Box, WALNuT, witH AppLiep Meta Work 


final shape. It is then sawed out, and filed, and settings 
are soldered in place. 

49. The Pendant. This type of work can be elaborated 
upon to a great extent. It is always composed of a central 
piece suspended in some way. Avoid the use of machine- 
made chains, for invariably the good looks of a hand- 
made piece of work is spoiled by hanging it on a chain of 
this kind. The designs shown in Fig. 78 involve only the 
processes which have been used in the making of the 


82 METALCRAFT AND JEWELRY 


brooches. The stones, however, are often suspended so 
that they hang free and reflect more of the colors of the 
stone. The pendant may be made so that the central 
part slides on the chain, or the chain may be attached to 
the principal piece in a permanent manner. Stones, such 





Fig. 75. Betu Burron Puate 


as corals, amethysts, jades, lapis lazuli, amber, azurite, or 
malachite all make up favorably in silver and form pleas- 
ing contrasts of value with the metal. 

The pendant in iris design (Fig. 79) gives an idea of 
what may be done in repoussé work. It is not often made 
in this fashion as it is one of the more difficult types of 
work This, however, was hammered up from a piece of 
24 gage metal in the manner described previously. The 
pendant (Fig. 80) is a simple piece of repoussé work beaten 


CHASING AND REPOUSSE 83 


up from 22 gage metal with an opal swinging in the space 
and a pearl attached between the leaves. This type of 
work is explained and shown in steps. (Fig. 68) 

The brooches (Fig. 81) are all executed in repoussé in 
22 gage metal. After the setting for the stone has been 





Fic. 76. Sttver Broocu witru Ross 
Matacuitg, By AutHuor. REpoussé 
WorRK 


soldered in place, the brooch must be provided with joint, 
pin, and catch. 

Stick pins (Fig. 82) are made in repoussé. Small work 
is always more difficult to do as a good deal of skill must 
be developed before the delicate lines and forms can be 
modeled on the embossed piece with the chasing tools. 

The two panels (Figs. 83 and 84) for a jewelry box are 
made in repoussé high relief. Work of this kind must be 


84 METALCRAFT AND JEWELRY 


annealed at each turning of the metal to prevent cracking. 
Great care must be exercised as only blunt tools can be 
used in getting the metal up to proper height. 

50. Repoussé Work on Hollow Articles. It would be 
impossible to raise a design into relief on a hollow vessel 





Fic. 77. Sitver Back Comps wiTH Opat, PEARL, AND JADES, 
Maps IN REpouUSSE BY AUTHOR 


or bowl in the manner just described; another method of 
procedure is adopted. It requires the use of a simple but 
wonderful tool called a ‘‘snarling iron.” (Fig. 86) It can 
easily be made by bending the ends of a piece of steel at 
right angles and filing one end to a suitable round knob 
shape. Shops as a rule have different shapes and sizes of 


CHASING AND REPOUSSE 


PENDANTS 





Fic. 78. PEeENpANT DEsIGNS 


85 


86 


METALCRAFT AND JEWELRY 














Fic. 79. PENDANT, IRIs DesiGN IN RE- 
Ppousst Work. DESIGNED AND MADE 
BY AUTHOR 


CHASING AND REPOUSSE 





Fic. 80. Sitver PENDANT 
WITH OPAL AND PEARL. 
REPOUSSE 


87 


88 


METALCRAFT AND JEWELRY 





Fic. 81. Four Broocurs In Repousst 
WorRK 


CHASING AND REPOUSSE 89 


these snarling irons according to the class of work to be 
done. The design is first drawn upon the vessel, then the 
snarling iron is brought into use. The operator holds the 
cup as shown in Fig. 87. The taps or blows delivered at 
one end of the iron will cause it to vibrate at the other end, 





Fig. 82. Scarr Pins In REpousseé 


and by skillfully shifting the vessel, as the design demands, 
a rough relief will be gained. 

The work is now filled with pitch and when cool the 
surface is treated very much the same as in flat repoussé 
work. The outline is traced and the background chased 
down; this leaves the design in bold forms, as will be 
noticed on the silver cup. (Fig. 88) There must be plenty 
of material driven up so that the ornament or figure can 
be modeled into form. The object is held in position on a 
sandbag in order to protect the surface from damage. 


METALCRAFT AND JEWELRY 


90 


WOHLAY Ad ‘MYOM FSSnodAy 


NI xog THMape YO 


dol “Eg “OI 





CHASING AND REPOUSSE 





METALCRAFT AND JEWELRY 


TUVaq-1O-UaHLOW GNV UdaWy ‘HOOOUg FYI WAATIC 


HIM HOOOU YAATIS 


anc eam 
qn noe 


jsinbuo.yy LvoscQ fig 


‘douq] TVUO() CNV ANOLSNOOJY HLIIM LNVG 


‘assnoday ‘WTLINAD waaay 


Nag UAATIG °GQ ‘DIY 





CHASING AND REPOUSSE 93 


When the decoration is finished the pitch 1s melted out by 
application of heat, and the cup is cleaned by turpentine 
or gasoline, or it may also be sent through the fire and 





Tie. 86. THe SNARLING IRON IN USE AND VARIOUS 
SHAPES OF SAME 


annealed—this process will burn the remaining pitch to 
ashes. It is then ready for the finishing process. The 
child’s drinking cup shown in Fig. 89 was made by the 
method just described. 


94 


Fia. 87. 


METALCRAFT AND JEWELRY 





RAISING ORNAMENTS ON VASE BY THE USE OF 


THE SNARLING [RON 
By courtesy of The Gorham Co., New York 


CHASING AND REPOUSSE 





Fic. 88. SirveER Cup, HAMMERED Up FROM 
CIRCULAR SHEET. IN PRocgEss OF BEING CHASED. 
By AvuTHOoR 


95 


96 ' METALCRAFT AND JEWELRY 





Fic. 89. Cuitp’s Drinkine Cup, DESIGNED 
AND CHASED BY AUTHOR 


CHAPTER. VII 


WirRE-DRAWING AND WIRE WoRK 


51. The process of wire-drawing has been known from 
the earliest time. The book of Exodus in the Old Testa- 


OF OOO 0166) 6.) 0 o> Of tou ot 


e e ° © ° o Q ° ° ° 


DRAW-PLATE 22 HOLES 


DRAW - TONGS 


ae 


PAIR OF DRAW- PLATES 
FOR WIRE MOULDING 





Fic. 90. Tue Draw-Bencu, Usrep ror Drawina Heavy GAGE 
Wire or MovuLpED WIRE 


ment mentions the fact. As so many thousands of articles 
are manufactured from wire in this day and age, it is 
97 


98 METALCRAFT AND JEWELRY 


interesting and very important as well as educational to 
know how wire is drawn. 

Some metals are more ductile than others; for that rea- 
son some can be drawn into almost inconceivable fineness 
and others not. It is said one ounce of gold wire can be 
drawn into a wire twelve miles long. Wire that fine is used 
in embroidery, on uniforms, and for filigree work where 
it is twisted and arranged in intricate patterns and de- 





Fic. 91. Maxine Links ror CHatin WorK 


signs. In the manufacture of chains and jewelry, wire is 
most important. 

52. Draw-Plates are of many kinds: some have round 
holes; others square, rectangular, half-round, hexagonal, 
star-shaped, etc. The draw-plate is a steel plate with a 
series of holes graduated in size, through which, succes- 
sively, the wire is drawn. (Fig. 17) A heavy pair of 
pliers or ‘‘draw-tongs”’ are important in order to get a 
good grip on the pointed end of the wire. If heavy-gage — 
wire is to be reduced, an apparatus called a draw-bench 


WIRE-DRAWING AND WIRE WORK 99 


is used. (Fig. 90) Anneal frequently as each drawing 
naturally hardens and compresses the metal. Light- 
gage wire may be pulled by hand, by placing the draw- 
plate in a bench vise, the principle of the operation being 





Fig. 92. SAWING THE COILED 
Wire LINKS 





Fic. 938. Wire Wounp Rounp MANDREL READY FOR 
CuTTING 


the same. By doubling up a piece of round wire and pul- 
ling it through hole after hole, it will gradually become 


100 METALCRAFT AND JEWELRY 


half-round in shape. In order to avoid any risk of melting 
the wire when annealing, coil it up in a close bundle (Fig. 
18), tie all the strands together with iron binding wire so 
that it forms a compact ring, and let a soft flame play on 


SOLDER 


a 
0000 


STEP !. SOLDER SINGLE LINKS 


SOLGER 


SOLDER 


STEP 2.MAKE. UNITS>® OF oT AREE. 





Fig. 94. THe MAKING oF A CHAIN 


it until it shows a uniform faint redness. It is then soft and 
pliable. 

53. Chain Making is a highly important branch of the 
craftworker’s art. To make a simple chain, such as is 
shown in the various pendants, is good practice work for 
beginners as it gives good practice in soldering, and not 


WIRE-DRAWING AND WIRE WORK 


Fic. 95. CHAINS WITH INSERTED ORNAMENTS 
By students of Milwaukee Downer College, Wisconsin 





102 METALCRAFT AND JEWELRY 





Fic. 96. Laren WatcH 
CHAIN 


WIRE-DRAWING AND WIRE WORK 


UNIT DESIGNS 





Fic. 97. JEwELRY MADE orf WIRE 
UNITS 


103 


104 METALCRAFT AND JEWELRY 


much is spoiled if a few links are burned or melted. Good 


BENDING A WIRE 
SCROLL 


Se 


STEP 1. USE ROUND 
NOSE PLIERS 


= 8 Sa 
FLAT NOSE 
PLIERS. 





Fic. 98. How to MAKE a WIRE 
SPIRAL 


clean soldering can be learned only through repeated prac- 
tice. Chain or link work offers such an opportunity. 

Tools necessary for link work are two pairs of flat-nose 
pliers, a pair of round-nose pliers, tweezers, and mandrels 
co wind the wire on. 


WIRE-DRAWING AND WIRE WORK 105 


Supposing a chain with oval links is to be made, similar 
to that on the pendant in Fig. 65, first decide on the length 
of the links, say 3%-inch long, then take a piece of flat 
metal (copper or brass will do) and cut a strip carefully 
to the required width, filing the edges round and smooth, 
and finish with emery cloth. This is to serve as a mandrei 





Fic. 99. Twisting A PIECE oF WIRE 


and its size will determine the size of the links. Wrap a 
strip of thin paper in a spiral fashion around the mandrel; 
tie the paper to the mandrel at each end with a piece of 
binding wire. The links must now be wound or coiled 
around the mandrel very closely and regularly ; the method 
shown in Fig. 91 insures a good job. Heat the whole 
thing with the blowpipe; this will burn the paper away 
and make the links soft and pliable. The mandrel can 
now be withdrawn with ease, which otherwise would be 
impossible had the paper not been used. The coil is now 
cut lengthwise with a No. 00 jeweler’s saw keeping the 
cut as clean as possible. (Fig. 92) ‘The shape of the 
mandrel of course determines the shape of the links. 
Another method of coiling links without the use of paper 
is to wind the wire in sections of about a dozen each, as 


106 METALCRAFT AND JEWELRY 


in Fig. 93, then anneal and cut the mandrel at each sec- 
tion and saw the links while they are still on the mandrel. 
This however, will destroy the mandrel, while in the first 
method the mandrel can be used over and over again. 
Each link must now be carefully joined with the two flat- 
nosed pliers; there must be contact where the two ends 
meet in order to avoid trouble when soldering. Place 





Fig. 100. FirnigREE Broocw MADE IN 
ICELAND 


several single links on the charcoal block and solder with a 
pointed flame. Now connect two links to the one just 
soldered and make units of three. By this method, mul- 
tiple work is performed and the workisreduced toamarked 
degree. (Fig. 94) The chain should be tested for any 
weak links by a firm pull, or it may be drawn through a 
hole or two of the draw-plate. Now boil it out in the 
pickle, which will dissolve all excess borax. Chains, such 


WIRE-DRAWING AND WIRE WORK 107 


as in Fig. 95, with inserted ornaments are attractive and 
always stimulate interest in the craft. Many variations 
are possible by breaking it up into units and alternating 
short and long links or grouping them in a pleasing man- 





Fig. 101. FinigREE Broocu MADE IN 
NORWAY 


ner. A lapel watch chain with a small ornament for the 
buttonhole (Fig. 96) makes a winning problem to work 
out with a minimum amount of work connected with it. 
54. Unit Jewelry. The designs in Fig. 97 explain what 
is meant by unit work. It is well within the craftsman’s 
reach. It is all made by bending or twisting wire into units 
of the same shape or form and arranging these separate 
pieces or units so as to produce a pleasing design. Scrolls 
(Fig. 98) are made by giving the end of wire a preliminary 
twist with a pair of round-nose pliers, after that it is 
squeezed gently little by little with the flat-nose pliers. 


108 METALCRAFT AND JEWELRY 


The position and grip of the pliers must be very slightly 
varied. Do not exert too much pressure at first or the 
wire will kink instead of curl. It requires a great deal 
of practice to make nice closed scrolls perfectly. 





Fic. 102. Wire CorLtep Up 


55. Twisting Wires. Double up a piece of wire, fasten 
the ends in a vise, insert a piece of tubing, and twist by 
placing a nail in the looped end of wire. Hold the tube with 
one hand and twist with the other. (Fig. 99) 





Fic. 103. Tue Currine PLIERS 


56. Filigree. The brooches in Figs. 100 and 101 are 
made up of many units. They may be said to consist of 
curling, twisting, and plaiting fine pliable threads of 
metal and uniting them at their points of contact with 


WIRE-DRAWING AND WIRE WORK 109 


each other. Small grains or beads of metal are often set 
in the eyes of scrolls or at intervals to set off the wire work 
effectively. This type of work is called “‘filigree”’ and is 
characteristic of the Scandinavian countries and Iceland. 
However, the art was practiced by the Egyptian jewelers 
and the Byzantine goldsmiths. Exquisite specimens of 
this kind of work, made centuries ago, may be viewed in 
most museums. It requires a somewhat special method 
to solder on the many separate units to the base. Melt 
the borax to a glaze in a crucible or in a hollow depression 
in the charcoal block. Grind this borax glaze to a fine 
powder in a druggist’s mortar with the pestle. Now with a 
fine file reduce a piece of solder to filings and mix equally 
with borax powder. This mixture should be applied along 
the joints to be soldered. Wherever possible apply the 
heat from the under side of the work; this will minimize 
the possibilities of displacing any of the parts to be 
soldered. 


CHAPTER VIII 


STONES AND METALS—SOLDERING 


57. Stones. The art of cutting and polishing stones is 
practiced by the “‘lapidary.’’ There is little difference in 
the instruments used by the modern lapidary and those 
used by the early gem cutters, but great improvements 
have been made in shaping and forming the stones to get 
the utmost beauty from the rough gem. (Fig. 104) 

The rough stone is first put through the process known 
as slitting. This is accomplished by holding it next to a 
thin metal wheel which revolves at a high rate of speed 
and is moistened with diamond dust and oil which give it 
the biting edge. The discs or wheels vary in diameter 
from that of a pin-head to a quarter of an inch. The 
diamond dust and oil will carve any stone softer than a 
diamond itself with comparative ease. If facets are to be 
cut the stone is mounted with cement on the end of a 
small stick of wood and held against a horizontally revolv- 
ing wheel. A little device called a ‘‘jamb peg” is used by 
the cutter to get the desired angle to the stone. The dull 
and colorless gem must now be polished to bring out its 
color and brilliancy. 

The wheels or discs used in polishing are very much 
like those used in cutting, but instead of using an abrasive, 
a polishing compound such as tripoli, a decomposed lime- 
stone, or putty powder is used. The discs used to cut and 
polish faceted stones are made of metal, such as copper, 
brass, iron, or tin. Opaque or translucent stones, such as 
opals, moonstones, and turquoise, are usually cut cabo- 

110 


STONES AND METALS rao 


chon shape, that is, smoothly rounded, and polished on 
felt, leather, or wooden wheels or drums. Transparent 
gems are almost always cut with facets on account of the 
fine effect in producing brilliancy by reflection of light 
from the under side of the gem. 

58. Precious Stones. The diamonds, rubies, emeralds, 
and sapphires are classed as the most precious of stones. 
The pearl is often spoken of as such but strictly speaking 
it is not a stone at all. Nevertheless, it is very costly when 
it is of high luster and quality. 

59. Semi-precious Stones. The craftworker as a rule 
is more concerned about what are known as semi-precious 
stones as they give him a wide field to select from and are 
more appropriate for the type of work he is interested in. 
They offer a great variety of colors to choose from. Stones 
most applicable for the artist craftworker are: 

‘Amethyst. A purple stone of transparent crystal quartz. It 
looks well cut either cabochon or faceted. Hardness 7. 

Aquamarine. A stone that has the color of the sea, from pale 
blue to sea green. It is a sister of the emerald and belongs to 
the beryl family. Hardness 714. 

Azurite. A beautiful blue stone. It derives its color from the 
presence of copper. Hardness 4 to 5. 

Bloodstone. An opaque, dark green with spots of red. Hard- 
ness 614. 

Chalcedony. As a pure mineral it is transparent gray, often 
tinged with blue and green. Hardness 6% to 7. 

Chrysoprase. This is a beautiful apple-green. The color is due 
to about one per cent nickel oxide. Fine specimens resemble 
emeralds. Hardness 7. 

Coral. Ranges in color from bright pink to dark red. It is cut 
cabochon and makes up well with silver or gold. Hardness 5. 

Jade. The best sage-green jades come from Upper Burma, 
British India. The darker green variety is found in New Zealand. 
Hardness 61% to 7. 

‘By courtesy of Espositer, Varni Co., New York. 


112 


METALCRAFT AND JEWELRY 


Labradorite. A variety of feldspar first found in Labrador, it 
sparkles in many colors when turned to the light. Otherwise it 
has a gray, brownish appearance. Hardness 6. 

Lapis Lazuli. A most beautiful opaque, azure-blue stone fre- 
quently marked with white spots of iron pyrites. It is found in 
Russia. Another variety of a lighter blue is found in Chili. Hard- 
ness 6. 

Malachite. This green carbonate of copper (a form of copper 
ore) appears in layers. It is a rather soft stone but it takes a high 
polish. Hardness 4 to 5. 

Malachite-Azurite. This is a combination of malachite and 
azurite, mixed to form exquisite peacock colors. Hardness 4 to 5. 

Moonstone. A subvariety of feldspar. It reflects a bluish 
light. Hardness 6. 

Moss Agate. Moss agate contains particles of iron oxide, which 
give it the appearance of containing vegetable matter. Hardness 
614. 

Opal Matrix. This is an intermixture of opal and the rock in 
which it is found. The light and the dark opal matrix are used to a 
great extent in artistic jewelry. Hardness 6. 

Turmaline. A transparent stone found in many colors, red and 
green predominating. Hardness 7 to 7%. | 

Turquoise Matrix. For art jewelry this stone is very effective. 
The contrast between the blue turquoise and the rock in which it 
is found makes it exceedingly interesting. Hardness 6. 


60. Hardness. Different stones have different degrees 
of hardness. The hardness of gems has been expressed by 
the Moks'! scale, from one to ten: 


dee Pale 6 Feldspar 

2 Gypsum 7 Quartz 

3 Calcite 8 Topaz 

4 Fluorite 9 Ruby or Sapphire 
5 Apatite -10 Diamond 


To find the hardness of a stone one must find what 
other stone of known hardness scratches it and is scratched 
by it. 


1An eminent German mineralogist. 


STONES AND METALS 113 


SryveLeo OF CUTTING AND: SIZES 


OOS 
ae 9 


PEARL 
ROSE CUT Ae ate ee 





Me CN cy 


CABOCHON CUT 


ome ~ 


10 


me OK 





Fic. 104. How Stonres Are Cut anp MEASURED 


114 METALCRAFT AND JEWELRY 


61. Birth Stones. Much sentiment is attached to the 
language of birth stones all over the world. It is an ancient 
custom for friends to make birthday presents of articles 
containing stones representing the month of birth. Many 
consider them as sacred symbols or good luck. Various 
lists of the stones peculiar to each month of the year have 
been given from time to time in the last few centuries. 
The one most generally accepted today is as follows: 


JANUALY so feline oe Vs Coe ee Garnet 
February <..2.5 4 2 s48 ga eee Amethyst 
Marehet S426 2a te Bloodstone 
April 20320. Gees ee cee er Sapphire or Diamond 
May scccd (2 5 a de See Emerald 
JUNG oi ta ee A Agate 

JULY ns LOGO a ae oe Ruby 
August. sos. oot oy elo Sardonyx 
September... 7... ¢.4 375 Chrysolite 
October . 04 scuee to oo Soe Opal 
November... 40/5. 6 Topaz 
December. 52.0... en le Turquoise 


62. How to Order Silver or Gold. When ordering 
silver or gold it is always necessary to specify what make 
of gage. Browne and Sharpe is well known by all dealers. 
Sterling silver and fine silver, the latter sometimes used 
for bezels, is sold by the troy ounce. Gold is sold by penny- 
weight (dwt.). 


24 grains=1 pennyweight (dwt.) 
20 pennyweights = 1 ounce (0z.) 
12 ounces = 1 pound (lb.) 

The following table shows the approximate cost per 
square inch of sterling silver, 14 and 18 carat gold, based 
on present current prices of 90 cents per ounce of sterling 
silver and 70 cents per dwt. of 14 carat gold plate and 88 
cents per dwt. for 18 carat gold plate. | 


STONES AND METALS 115 


Gage Sterling silver 14 carat gold 18 carat gold 
8 .65 14.08 18.10 
9 58 12.61 16.23 

10 .46 11.20 14.44 
11 Al 10.01 12.91 
12 36 8.93 11.48 
13 .0o 8.18 10.19 
14 .o2 7.06 9.26 
15 28 6.32 8.06 
16 .20 5.61 f22 
7 22 4.97 6.38 
18 20 4.40 5.68 
19 18 3.99 5.09 
20 le 3.56 4.54 
21 14 3.04 3.92 
22 13 2d 3.52 
23 12 2.47 3.19 
24 naa 2.21 2.86 
26 .08 we 76 2.28 
28 Oz 1.32 iio 
30 05 1.05 1.43 


Sterling silver can be purchased cut in circular shape. 
The weight of a silver circle is 783% per cent of the weight 
of a square of the same size as the circle’s diameter. 


TABLE SHOWING NUMBER OF FEET OF STERLING SILVER WIRE PER 
TROY OUNCE 
Wire can be purchased round- or square-drawn 


Gage Feet Inches Gage Feet Inches 
8 1 2 eels 11 10 
9 1 6 19 14 9 

10 1 10 20 18 5) 
dak 2 4 21 24 4 
12 2 11 22 30 6 
13 3 8 23 39 6 
14 4 7 24 47 9 
15 5 11 26 74 7 
16 7 4 28 132 5 
LZ. 9 i) 30 191 0 


er 


METALCRAFT AND JEWELRY 


TABLE OF WEIGHTS PER SQUARE Foot oF COPPER AND BRASS 


B.&.S gage 


10 
11 
12 


B.&S. thickness in 
decimal 


102 
091 
081 
072 
064 
.057 
.051 
045 
.040 
036 
032 
028 
025 
022 
.020 
018 
016 
014 
012 
Ou 
010 


Brass per Ib. . 
36 


4 


3.88 


63. Melting Silver and Scraps. 
melt small quantities of scrap silver. This can easily be 
done as there are excellent small crucible furnaces on the 
market, costing about three dollars. (Fig. 105) The silver 
scraps are placed in the open crucible furnace with a small 
amount of borax or flux, the gas is turned on and the foot 
blower set in action. When the metal is properly melted, 
which requires only a few minutes, the silver is poured 
into an ingot (Fig. 106) or mold. It is necessary to warm 
and grease the ingot beforehand to prevent the silver 
from spitting and sticking to its sides. 


Ne ed Od LO OCC ee) 


46 
OS 
74 
44 
18 
94 


he 


54 


OF 
22 


Copper per Ib. 


4.62 
4.11 


3 
3 
2 
2 
2 
2.05 
i 
1 
1 
1 
1 
1 


It is often desirable to 


STONES AND METALS 117 


64. Rolling. When the silver has been cast into a small 
bar it must be rolled to the desired thickness or gage. 
This is done by passing it through a pair of steel rolls 
(Fig. 107) working very much on the same principle as a 
wringer used in washing. After each passage through the 
rollers the metal is flattened little by little. Frequent 
annealing must be resorted to so as*to counteract the 
hardening caused by pressure of the rollers. 

EASY-FLOWING SOLDER: 90 parts sterling silver 

6 parts copper 

4 parts zinc 
HARD-FLOWING SOLDER: 90 parts sterling silver 

8 parts copper 

2 parts zine 

HASY-FLOWING: Fine silver, 1 oz. 

Pure copper, 5 dwts. 
Composition metal, 5 dwts. 


HARD-FLOWING: Fine silver, 1 oz. 
Brass, 10 dwts. 


Melt the silver in a small crucible first, adding a small 
amount of borax as flux. When in a molten state the brass 
and composition metal is added and the crucible given a 
gentle shake to mix the alloy, or an iron rod may be used 
for stirring. Then pour the metal into an ingot or mold. 

65. Composition Metal is an alloy. It is composed of a 
mixture of copper and spelter. A good grade of brass 
should be used, such as brass escutcheon pins or nails or 
screws of brass. The copper must be of the purest; electro- 
deposited copper is best as it is practically 100 per cent 
pure. Silver solder, however, can be purchased from 
jewelers or refiners in small quantities, both hard- and 
easy-flowing. 

66. Soft Solder. The strength of a soldered joint 
depends upon the strength of the solder used. Solders are 


118 METALCRAFT AND JEWELRY 


classed as hard and soft solders. The former always 
requires a red-hot heat. The latter, soft solder or tin 
solder, is used for many different purposes where the 
soldered articles need not be heated much above the 
boiling point of water. It is used primarily by sheet- 
metal workers and tinsmiths. The jewelers and silver- 
smiths use it at times but very rarely. . 





TO AI aN 
BLOWER 


Fia. 105. THe Cructste FurNAcE For MELT- 
ING SCRAPS OR SMALL QUANTITIES OF METALS 


The solder commercially known as “‘half-and-half”’ 
(50-50 tin and lead) answers the purpose for most general 
work. The parts to be joined must be thoroughly cleaned 
and free from oxide. The edges to be soldered must fit 
or be in contact with each other. 

67. Flux for Soft Solder. To prevent a layer of oxide 
from forming on the metal in the process of heating, a 
so-called ‘‘flux’’ is used. The flux is applied to the joint, 
partly to keep off the air, thus preventing oxidation, and 
partly to dissolve and reduce the oxides themselves. 


SOLDERING to 


Many preparations are on the market as flux in soft- 
soldering, such as zinc chloride, tallow, resin, sal ammoniac, 
and soldering paste. The zine chloride is old and reliable. 
It is prepared by adding zine cuttings to muriatic acid 
or hydrochloric acid. Let stand until it has finished 


CRUCIBLE 


| 
/ 
y) 
) 
Y 
] 
U 


SEE 








Fig. 106. Pourine THE MOULTEN 
Merat Into THE INGOT 
boiling, then strain off into a bottle for future use. A 
small piece of sal ammoniac added to the strained fluid 
will improve it as a flux. 

68. Soldering Iron or Bit. Tinsmiths or sheet-metal 
workers use this tool almost entirely in performing their 
soldering jobs. It is made of copper in various weights and 
shapes. A small copper becomes cool quickly with poor 


120 METALCRAFT AND JEWELRY 


work as a result. It is advisable to use a good-sized 
copper bit as it will sustain the heat longer. The bit 
shown in Fig. 108, A, is filed or forged to a point and well 
adapted for spotting or soldering a seam. The bottom 
copper (Fig. 108, B) is wedge-shaped and used for solder- 





Fic. 107. Tue RoiiumG MiItn 


ing on the inside of an article. This shape also adapts 
itself well for radio work. 

69. Tinning Copper Point. A bit must be tinned on the 
point before it is ready for use. Heat the copper suffi- 
ciently to melt the solder. With an old rough file clean 
the sides, then rub it on a lump of sal ammoniac. A small 
piece of solder is now melted on the sal ammoniac block, 


SOLDERING 121 


and the bit is rubbed again back and forth. This process 
will tin the point; then it is ready for use. The point of 
the soldering bit must be kept clean and bright at all 





Fie. 108. Tur SoLtpERING Copper, Usep ONLY 
IN SOFT SOLDERING 


times. The copper oxide or scale which forms during the 
heating process is nearly: a nonconductor of heat and 
renders the bit practically useless. If the bit has been 
overheated, that is, if it has been allowed to become red- 
hot, then it must be retinned. 

70. Cleaning the Bit by Dipping. The point of the hot 
soldering iron may be cleaned by dipping it quickly in a 
solution made from 14 of an ounce of sal ammoniac dis- 
solved in a pint of water. The object in using the soldering 


122 


METALCRAFT AND JEWELRY 





tsconsin 


Desk SET witH Book Enps 


Fie. 109. 
Made by students of Milwaukee Downer College, W 


SOLDERING 123 


copper is to transmit the heat from the bit to the work as 
quickly as possible. By raising the temperature of the 
soldering copper and the part to be soldered, the fusing 
together of parts is almost instantaneous. 


CHAPTER IX 


HAMMERED WoRK 


71. The Work Described in the pages to follow will deal 
with what is commonly known as “art metalwork.” 
This term, however, comprises such a wide range of dif- 
ferent kinds of work and processes that it may be well to 
keep within a certain limit. Many attractive pieces of 
work may be executed with only a minimum amount of 
labor spent and at the same time have distinct educa- 
tional value. It is fascinating and interesting to watch the 
many forms a piece of silver, copper, or brass takes as it 
gradually yields to the blows of the hammer. Thin, flimsy 
metalwork should be avoided; it 1s not substantial and is 
easily dented. 

72. Flat Work. The bookends in Fig. 110 are made 
from sheet-copper or brass, gage 16. The design should be 
drawn full-size and may be made to fit a given size set of 
books. Cut the metal with a pair of 12-inch shears. 

73. Planishing is the process of giving the metal sur- 
face a finish with a steel planishing hammer. (Fig. 135) 
The metal is held firmly on a solid iron block or anvil and 
hammer blows are delivered uniformly with the slightly 
curved surface of theplanishinghammer. This will result in 
a delightful hammered texture, provided the face of the 
hammer and the surface of the work are clean and free 
from grease and grit. It is important to hold the hammer 
in a level position so that the blows fall squarely on the 
metal. Unpleasant blemishes will result should the edge 
of the hammer strike the metal. 

124 


HAMMERED WORK 


BOOK ENDS 
DESIGNS AND CONSTRUCTION 





Wee, Lk i WUMLLLLASEALTL4 


RSS SS YS pqs 





Fig. 110. Designs ror Meraut Book Enps 


126 METALCRAFT AND JEWELRY ~ 


After planishing, the bookends are annealed and 
thrown into the diluted sulphuric-acid solution for clean- 
ing. With a rawhide mallet the metal is flattened care- 
fully and the edges filed and finished with emery cloth. 
If any lines are to be traced on the surface for decorative 
purposes the tracing should be done with a chasing 
tool (see Chapter VI) and hammered on a flat iron, or, if 





Fic. 111. Brnpine a PrecE or METAL 
HeLD BETWEEN Two PIEcEsS orf Woop 


any places are to be pierced open, the jeweler’s saw must 
be brought into use. To bend the base of a bookend, 
clamp it between two pieces of wood and bend over. 
(Fig. 111) The bent-over piece may be struck lightly 
with a hammer to make the corner a little sharper. 

74, Rivets may be purchased in almost any size, made 
from iron, copper, or brass. The size is measured by the 
diameter of the stem, and the length from the under side 
of the head to the end. The rivet has great decorative 
value in craft work if properly spaced. Get from the local 
hardware dealer an assortment of different sizes for 
reference purposes. Escutcheon pins can be used to good 


HAMMERED WORK 127 


advantage as rivets. This kind of nail always has a nicely 
rounded head. 

75. To Rivet, first drill the hole as nearly as possible 
the size of the rivet. Remove the burr with a countersink; 
insert the rivet and cut it with the nippers or cutting 
pliers so that it projects about ;4, inch which will provide 


fy RIVETING 
| HAMMER 


j 
) ~~ ee) 
| 
HH) ~ 
f SS 
/ = > 
Ue = SS 
2 
i = ‘ 
. 


CLLR, WR 
VD. NAAANAANAAAAANNAN 


Wall 


Fig. 112. Rivetine 





enough metal for riveting. A piece of iron which has cup- 
shaped depressions of different sizes on the surface is 
necessary for good work. This will form a bed for the 
round head of the rivet and prevent flattening of the 
head of the rivet. (Fig. 112) The riveting hammer will 
spread the rivet and clinch the parts together. 

76. Letter Opener. A project of this kind works up 
well by combining copper and brass. The knives shown in 
Fig. 113 are made of brass and copper. Cut the blade from 
15 gage brass with a jeweler’s saw, using a No. 1 saw blade, 
and file sharp but blunt. The applied metal for the handle 
part is cut from 20 gage copper and riveted on with brass 
rivets or escutcheon pins. 


128 METALCRAFT AND JEWELRY 


77. Drawer Pulls. Metalwork for surface enrichment 
gives the craftworker a large field to explore by studying 
the many period furniture trimmings to be seen in any 
good furniture store. The drawer pulls in Fig. 114 are 
composed of. three parts—the plate, the pull, and the 
strap. The design must be made full-size always, then 
transferred to the metal by one of the processes previ- 
ously explained. Use metal of an 18 gage for the plate 
and saw out with a jeweler’s saw. If a hammered effect 
is desired, then the metal must be planished before it is 
sawed out, otherwise the edges will be damaged and the 
plate thrown out of shape. The pull is made from heavy- 
gage wire, No. 1 or No. 2. This wire may be hammered or 
forged into whatever form is desired. If the work is in 
copper or iron, it should be hammered red-hot; if made 
from brass, anneal it frequently, but hammer it while 
cold as it is liable to crack or split, being an alloyed metal. 
The pull may be fastened tothe plate by any of the methods 
shown in Fig. 115. The straps at A and B should be made 
from 22 gage metal. The bolt at C is filed and riveted on 
to the plate. The method at D can be made by soldering 
a brass nut on the back of the plate with a machine screw 
to fit. This last method is the most common way of 
fastening metal trimmings to furniture. The drawer or 
door pulls in Figs. 116 and 117 were made in copper, and 
rivets used as a part of the decorative scheme. Metal 
trimmings applicable to furniture are shown in Figs. 118 
and 119. 

78. The Dapping Die and tools (Fig. 120) are used to 
make half-spheres of smaller sizes, which can be used for 
feet of a tray or shallow bowl, or for decorative purposes 
to take the place of rivets. Cut a small circular disc from 
metal of any gage and place it in the largest cavity of the 


HAMMERED WORK 


Fic. 113. Lerrer OPENERS, COPPER AND BRASS 





130 METALCRAFT AND JEWELRY 


dapping die; with the dapping tool and small hammer 
form it to the shape of the cavity. Now place it in the 
next size smaller cavity of the die and repeat the operation, 
and so on. In this manner’ the circular dise gradually 
takes the shape of half a sphere. Two can be soldered 
together to make a whole sphere. Some fitting and filing 
of course is necessary before the two halves are tied 
together with iron binding wire for soldering. A small 
vent hole must be drilled somewhere, previous to soldering; 
otherwise, in successive heating of the ball the imprisoned 
gases would expand, and the ball would explode. 

79. Lanterns. Lanterns such as the one shown in 
Fig. 121 may be used as light fixtures for a porch, or a pair 
of lanterns may appropriately be used above a fireplace 
where a mellow subdued light is desired. Stained glass or 
amber-colored mica (isinglass) are both suitable mediums 
for covering the open or pierced design. Isinglass is a 
silicate that cleaves in thin, tough, transparent to trans- 
lucent scales. 

To make the lantern, develop the parts marked A and 
B on a heavy manila paper; cut out the pattern, score the 
bending lines and fold to the shape of the drawing. By 
doing this it is possible to see what the finished work will 
look like, and you can also better judge the proportions. 

Now transfer the patterns A and B to a piece of copper, 
24 gage; cut as much as is practical with the shears, then 
saw out the rest with a jeweler’s saw. Centerpunch places 
where the rivets are to go, then drill holes a trifle larger 
than the neck of the rivet. The work must now be cleaned 
in the pickle and flattened carefully with the rawhide 
mallet on a level piece of wood or on an iron surface plate. 
To bend the metal, place it on a sharp-cornered piece of 
wood or iron and turn it over to the proper angle. The 


HAMMERED WORK 


Peeve Or DOOR PULIS 














Fig. 114. Designs ror DRAWER AND Door PULLS 





132 METALCRAFT AND JEWELRY 


STRAPS FOR DRAWER PULL 


DIFFERENT WAYS 
OF ATTACHING 
STRAP TO PLATE, 





Fig. 115. Dirrerent Metruops or FAsteENnING PULL TO 
DRAWER PLATE 


HAMMERED WORK 133 


onninobinebossiii 





Fic. 116. Drawer Putts 
By Mr. G. H. Trautman 


134 METALCRAFT AND JEWELRY 


joints should be filed and fitted accurately and _ soft- 
soldered. To make the joint strong and secure, reinforce 
by placing an angle piece on the inside (Fig. 122) and 
solder by holding it over the gas or alcohol flame. | 





Fig. 117. Copper Drawer PULLS 


The rivets are placed as a part of the decorative scheme 
and serve only as such. 

The Z-shaped pieces of metal to hold the glass in place 
are made from a light-gage metal, about 28, and soft- 
soldered in place. 

The base plate is made from 18 gage metal with hole 
and slots as shown. 


HAMMERED WORK 135 


The lower receptacle for candle or electric light socket 
must be made from metal of the same gage as the base 
plate and domed up in a hollow depression on a wood 


is peor | 








Fig. 118. Waste PAPER BASKET 
with APPLIED Mrerat Work 


block with the ball-pein hammer, (Fig. 122, D) after which 
it must be planished in order to give it a smooth and 
finished appearance. Clinch the ball-pein hammer in the 
vise and strike even, gentle blows with a planishing ham- 


136 METALCRAFT AND JEWELRY r 


mer, starting at the center and working round and round 
toward the edge. By doing this the work will take a per- 
fect round shape. 

The bracket may be made from 18 or 16 gage copper 











Fic. 119. Writing Desk witn APPLIED METAL WorkK 


sawed to shape with a No. 1 or 2 saw blade. It is always 
advisable to use a coarse saw blade when cutting heavy- 
gage metal. 

The supporting chain is made of 10 gage wire. Coil it 
around amandrel of suitable size to form oval links. (See 
Sec. 53.) The supporting hook and eye is made from the 
same gage of wire bent to the shape as shown. 


HAMMERED WORK 137 


This lantern mounted on a black walnut board makes 
an attractive and interesting piece of work. 

Figs. 123 and 124 offer two different shapes with sug- 
gestive motifs for design. The principal part of the lan- 
tern is developed or unfolded. Only operations described 
in the preceding problem are encountered here. 


MAKING A HALF —- BALL 


DAPPING TOOL. 
! | , 











DAPPING DIE — 





Fic. 120. Tse Dappinc Dies AND Dappina TooLs 


The lantern in Fig. 125 is a riveted piece of work. 
Rivets of pleasing sizes should be selected and grouped. 
The six upright supporting members are each bent to 
form an angle of 120 degrees. The upper dome should be 
raised to a height of about 11% inches in a depression on a 
block of wood or a log, with a ball-pein hammer, and 
afterwards planished. To give this lantern a wrought or 
hammered appearance the metal must be hammered 
with a slightly curved planishing hammer on a level 
piece of iron, before it is cut to accurate pattern shape. 


138 METALCRAFT AND JEWELRY 


LANTERN 























Fig. 121. Watt LANTERN witH WoRKING DRAWINGS 


HAMMERED WORK 139 


STEPS OF OPERATION 
IN MAKING LANTERN 


ARRANGEMENT FOR 
HOLDING GLASS 


fin) 


{ 
LOWER RECEPTACLE. 
) FOR LIGHT SOCKET 


Ly) 
' } 


| 
DOMING BLOCK 


PLANISHING 





Fic. 122. Important Steps IN MAKING WALL LANTERN 


140 METALCRAFT AND JEWELRY 


SECTION THRU 
LANTERN 


MOTIF : 
THE CAT-TAIL 





Fic. 123. TRuncatep PyraAmMip SHAPED LANTERN WITH 
Motir For THE DESIGN 


HAMMERED WORK 141 






aa~ 


LANTERN “x 






TOP PART, 
SQUARE PYRAMID. SS ss MOTIF: 
GS BASE. _. THE PALM. 
ACTITUDE Ce 






DEVELOPMENT OF MAIN PART. 


Fig. 124. Crimine LANTERN, INVERTED PYRAMID SHAPE 
with Morir ror DEsIGN. 


METALCRAFT AND JEWELRY 


HIGH zoe 


LANTERN 








RIvETED LANTERN, HEXAGONAL SHAPED 


HAMMERED WORK 143 


Pe SERN S 


THE LANTERNS HERE 
SHOWN ARE BRAWN 

Om rc] 
AT A SCALE aa =! 
THE ILLUMINATED PART 
IS TUBE ART GLASS OR 





Fig. 126. Lantern Designs Drawn TO SCALE, PROBLEMS 
TO Be WorkKED Out IN DETAILS 


144 METALCRAFT AND JEWELRY 


This latter process will cause the metal to become hard 
and unwieldy. To render it soft and pliable again it is 
necessary to anneal it and clean it in the sulphuric-acid 
pickle solution, then straighten it carefully with a rawhide 
mallet on a smooth, flat piece of wood or iron. 

The three lanterns in Fig. 126 are problems to be 
worked out in detail. The illuminated part is cylindrical 
tubing of art glass or mica which may be purchased in 
many various shades and colors, and diameters cut to any 
length. (See list of Dealers.) 

Amber-colored mica gives a pleasing, mellow light and 
may be used to good advantage also. The drawing is 
made to the scale stated. Measurements may be obtained 
by scaling the drawing or they may be approximated. 

80. Desk Set. For the type of corners on the blotter 
support shown in Fig. 128 it is well to make an exact 
development on heavy drawing paper. (Fig. 129) Score 
the folding line, then cut the outline and fold together. 
This will serve as a pattern for final marking. 

Cut from soft sheet-copper, 24 gage, four pieces a little 
larger than the pattern. Select the better side of the 
metal for the top side of the work and planish with the 
curved end of the planishing hammer on a smooth, flat 
iron. This will result in a pleasing texture to the surface, 
but it also hardens the metal to a considerable degree. 
Anneal to restore ductility and clean the metal in acid 
pickle solution, then straighten with rawhide mallet. 

Lay out the paper pattern on each piece of metal and 
scribe carefully around it, marking all corners to be bent. 
With a pair of snips cut out each piece; if necessary use 
the jeweler’s saw. 

To bend the corners, square up a piece of hardwood 
14 inch thick. Place the metal accurately on the line and, 


145 


HAMMERED WORK 


ursuorsr 4, ‘abayjog waunog seynonpipy ‘yLom szuapnyg 
NDISA(, LAAMS-UALLIG ‘LUOddOg YALLOIG GNV TIAMMNT “Lag 


usaqq “2ZT “DIT 





METALCRAFT AND JEWELRY 


146 


SSVuq GNV UdddOO JO AGVI “YANAdO AGLLAT . 
ANV UAILLOIG ONTHOOY “LUOddAg AALLOIG WOd SUANYOD HLIM LEQ ASA “ZT ‘DIY 











HAMMERED WORK 147 


CORNER FOR 
OESK SET 


ONE OF THE CORNERS 


DEVELOPMENT 
COP Be Aine RIND 


BENDING TO 
SHAPE 


SOFT SOLDERING 
WITH THE BUNSEN 





Fic. 129. MAKING THE CORNERS FOR A DESK SET 


148 METALCRAFT AND JEWELRY 


SUGGESTIONS FOR DESK PADS 


ESCUTCHEON PINS 
PATTERN UNFOLDED 





Fic. 130. DEsigNs AND CONSTRUCTION OF DrEskK Pap 
SUPPORT 


HAMMERED WORK 149 


STATIONERY RACK 
OPENING FOR CALENDAR 
OR PHOTOGRAPH. 








Fig. 1381. Srarionery Rack ror Desk Ser 


150 METALCRAFT AND JEWELRY 


with a scrap piece of wood as backing, squeeze in the vise 
while the metal is bent over the }4-inch wood as shown. 
A drop of soft solder placed on the inside will seal the 
joint. Another type of pad is shown in Fig. 130. 

The designs with all dimensions for the letter rack 
(Fig. 131) are suggestions for further study. The rivets 
may be placed to answer a double purpose, as part of the 
construction and as a decorative medium, if they are 
properly spaced and suitable sizes are chosen. 

Use an 18 gage metal for upright members and 22 for 
inside work. The Z-shaped piece for holding the calendar 
pad may be made of a lighter gage metal. 


CHAPTER X 


RAIsED WoRK 


81. Shallow Bowls or Trays. The essential equipment 
for raised work consists of a log 2 feet high and about 12 
inches in diameter, hammers and stakes of various shapes 
and sizes. The object is to hammer up from a flat sheet 
of metal any desired shape. 

If a round tray similar to any of the ones shown in Fig. 
132 is to be made, the first thing to decide upon is the 
diameter of the circular disc from which the work is to 
be made. Several methods are employed. One fairly 
accurate method for the beginner is to measure the length 
of the contour by a string or a piece of wire, as A~-B-C-D 
in Fig. 132. Another common method is to take the 
straight line distance, as shown by the dotted line A~B-—C— 
D. Finally, the experienced hammer worker takes for 
his diameter the height plus the greatest diameter; this 
last method, however, requires that the worker know the 
ductility of the metal, as it must be stretched to a marked 
degree. 

The circular disc is cut with the shears from 20 gage 
silver, copper, or brass. File clean around the edge; next 
anneal and clean in the sulphuric-acid pickle solution, 
rinse in clean water and dry. The metal disc is now held 
over a shallow cavity which has been gouged out of the 
end of a good-sized log, and light blows delivered uni- 
formly with the ball-pein hammer, moving the disc a 
little in a circular direction at every blow. (Fig. 133) 
The edge gets wavy, and great care must be taken that no 

151 


152 METALCRAFT AND JEWELRY 


SHALLOW TRAYS AND BOWLS 






































Fig. 1382. SHapes SurTaABLE FOR BEGINNING WorK 


RAISED WORK 


HAMMERING UPA SHALLOW BOWL 














AVOID FOLDS 


THE BAIL PEIN 
HAMMER 





Fig. 1383. Tae Batt Pein Hammer IN USE 


153 


154 METALCRAFT AND JEWELRY 


overlap occurs (A, Fig. 133) which invariably results in a 
crack along the edge, due to the extreme stress put upon 
the metal at that point. 

A wooden mallet or horn mallet shaped as in Fig. 134 
is frequently used in place of the ball-pein hammer for 


MALLETS AND DOMING LOG 


12" DIA. 24” LoNnG. 





Fic. 1384. Essentrat Toots FOR THE CRAFTWORKER 


forming trays and shallow bowls. It has the advantage 
over the steel hammer in that. the shape can easily be 
changed with a file or wood rasp. 

The object must be annealed at the end of each round 
and the operation repeated until the desired form is 
obtained. 

82. Planishing. Before this final process is undertaken 
the work should be annealed and boiled in the pickle 
solution, after which it is rinsed in water and dried. The 
object is to get it clean and free from any grease whatso- 
ever. 

Select a stake or iron suitable in shape to the outline of 


RAISED WORK 155 


PLANISHING 








PLANISHING HAMMERS 





Fic. 1385. Tue PLANIsHING PROCESS 


156 METALCRAFT AND JEWELRY 


the work and planish by using a hammer with a polished 
face, (Fig. 1385) starting in the center and working around, 
which can best be done if a few very light circles (not 
scratches) are marked on the surface with a pair of blunt- 
pointed dividers. This will true up the work and leave 
the surface bright and covered all over with brilliant 


FILING AN EDGE, 


Oo FEAT Sere 
HAND SMOOTH 





Fig. 186. Leveving A PIeEcE oF WorRK WITH A FLAT FILE 


facets. It is often necessary to planish the work several 
times to get a perfectly smooth surface, annealing and 
pickling after each planishing. The somewhat irregular 
edge is leveled with a flat file (Fig. 136) and the sharp edge 
made blunt with a piece of emery cloth. To gain a perfect 
control of the hammer so that each blow is delivered 
squarely, much practice is essential. 

83. Raising Hollow Vessels. The skilled craftsman 
can raise or draw up from a flat sheet of metal a vessel of 
almost any shape. It demands complete mastery of the 
hammer and doming mallet, and only through repeated 
practice can this be hoped for. Fig. 1387 shows a silver- 
smith at work on a large oval punch bowl. The design is 
mounted on a drawing board in front of the workman; 
it is being drawn up from a flat, oval piece of metal by 
skillful manipulation of the raising hammer and annealed 
regularly at the end of each beating. 


RAISED WORK Loy 








Fig. 1387. SttveR Puncw Bow. ror U. S. Barriesuire ‘OxKuA- 
HOMA”’ IN PrRocrEss oF BEING RAISED 


By courtesy of The Gorham Co., New York 


158 METALCRAFT AND JEWELRY 


DRAWING UP OR RAISING A TALL 
VESSEL 














RAISING HAMMER 





Fic. 138. SuccEesstvE Steps IN RAISING A VESSEL FROM A 
Fuat CircuLAR SHEET OF METAL 


RAISED WORK 159 


This process eliminates seams and solder, and by crowd- 
ing the metal together on the upper edge with the wooden 
mallet it is possible to increase the thickness along the 
rim several times its original gage. 


CRIMPING 


THE CRIMPING 1S 
STARTED IN A 
NOTCHED BLOCK 





Fic. 1389. Raising A VesseL Wuicu First Has BEEN CRIMPED 


Tools for this kind of work consist of the ball-pein 
hammer, the raising hammer (A, Fig. 138), the shaped 
mallet, and an anvil, as shown. 

The cup (Fig. 88) was made in the following manner, 
but from a sterling silver, gage 20 B. &S., circular disc 
with a diameter equal to the largest diameter of the 
design plus one half the total height. Smooth the edge 
with a file and anneal the metal. Mark the bottom circle 
with a pair of dividers. The points of the divider must 


160 METALCRAFT AND JEWELRY 


DRAWING UP WITH THE RAISING 
HAMMER 











Fic. 140. Successive STEPS IN DRAWING UP A PIECE OF 
WorK 


RAISED WORK 161 


be blunt in doing this; the object is merely to provide a 
light guide line for the hammer to follow. 

Start by using the dome-shaped mallet, hammering 
the metal carefully along the marked circle over a shallow 


REDUCING -THE DIAMETER 


i; 
te om 





Fic. 141. DRaAwinG IN THE NECK OF A VESSEL 


depression in a block of wood. The appearance will be as 
in C, Fig. 188. Before going any further the work must 
be annealed again and by throwing it into the sulphuric- 
acid pickle solution after each annealing it will be clean 
to handle. 

The process of ‘‘raising”’ now begins. It is done by 
placing the work against the tip of a stake so that the 


162 METALCRAFT AND JEWELRY 


edge of the stake comes close to the edge of the circle 
previously made. With the raising hammer beat the 
metal away from you, around the circle, (D, Fig. 138). 
Continue this operation, going a little higher up each 
round until the outer edge or top is reached, then reanneal. 
It will then look like E in Fig. 138. By repeating the last 
process and annealing each time, the upper edge is reached. 
The metal will be raised a little higher after each beating. 

If working to a definite shape, a template should be 
made showing the exact contour of the design. When the 
shape of the object has been obtained the work must be 
planished smooth. This is performed as described in Sec. 
74. 

84. Crimping. This operation raises the edge. The 
method is used by experienced silversmiths. It is the 
quickest method by which a large deep piece of work can 
be raised without seaming. It requires a high degree of 
skill and much practice. 

The metal is wrinkled in a notched block of wood, even 
and straight, with the raising hammer, then beaten down 
by holding the work upon the tee-stake (Fig. 139). Great 
care must be exercised in hammering down wrinkles 
that no overlap of the metal occurs, for that would result 
in the metal cracking. 

The inkwell holder shown with the desk set (Fig. 127) 
may be made as shown in successive steps in Fig. 140. 
To reduce the diameter the work is placed on the stake as 
shown in Fig. 141. Naturally, by crowding in the metal 
the thickness along the upper edge is increased. ‘To de- 
velop the shape and adjust the contour, work it from 
the inside with the ball-pein hammer, placing it on a 
sandbag. The planishing or surface finish should not be 
undertaken before the design has been realized. 


RAISED WORK 163 


METHODS OF MARKING 
GUIDE LINES 








Fig. 142. Dirrerent MeErtruops oF 
GAGING OR MARKING A LINE 


METALCRAFT AND JEWELRY 


164 


UUDUINDLT “HD 4 fig pasowmuny 
AVU], UAddOD “EFT “YI 





RAISED WORK 165 


The horse stake shown in the lower right corner of 
Fig. 140 may be fitted with a head of any shape and makes 
a very useful tool for planishing purposes. For describing 
guide use the calipers (Fig. 142) or a metalworker’s sur- 
face gage. 





Fig. 144. Puarrer with PIeRcED DESIGN 


85. Trays and Platters. One of the most difficult 
things to make is a large tray or serving platter, but small 
ones are quite within the reach of the craftsman. A round 
tray (Fig. 144) should be made from a fairly substantial 
gage of metal, 18 or 20 B. &B8. 


166 METALCRAFT AND JEWELRY 


Cut the circular-shaped disc a little larger in diameter 
than the desired finished plate. Describe a circle where the 
depression starts. The metal is placed on a flat iron and 
the depression beaten down with the ball-pein hammer 
and afterward planished carefully. (Fig. 146) For plan- 
ishing a large, flat surface the face of the hammer should 





Fie. 145. Pen Tray ror Desk SEtT 
By G. H. Trautmann 


be slightly curved. The appearance is greatly improved 
and strength is added to the work if the edge is reinforced 
with a half-round wire. (Fig. 147) Iron clamps similar 
to the ones shown in Fig. 25 are used. The clamps are 
placed at frequent spacing to insure close contact between 
the wire and the work proper. 

86. Seaming. Tall metal objects are usually seamed; 
that is, a development is made, and the edges are properly 
jointed and hard-soldered together. This makes the seam. 
Assuming a vase, as in Fig. 148, is to be made, first the 
shape must be studied. The dotted line shows the approx- 
imate cone the design resembles. Develop a pattern by 
using this cone about three times in succession. Cut a 
piece of metal, gage 22, to the size and shape of the pat- 


RAISED WORK 167 


DEPRESSING THE 
CENTER PART OF 
A PLATE 


PLANISHING 





Fic. 146. SuccressivE Steps IN MAKING A PLATTER 


168 METALCRAFT AND JEWELRY 


tern and prepare the seam for soldering by filing the adja- 
cent edges to an angle of about 45 degrees. This will give 
a little larger soldering surface which in turn gives a 
stronger joint. 

Bend the metal so that the edges come together and 
cut a notch as at A in Fig. 148. This will act as a lock and 
prevent the edges from slipping by each other; the edges 
must fit perfectly to insure a good soldering joint. Iron 


REINFORCING AN EDGE 
WITH HALF ROUND WIRE 





Fig. 147. SoLpERING A WIRE EDGE ON 


binding wire may be used to good advantage to hold the 
joint secure. The silver solder is placed on the inside in 
small pieces next to each other and soldered with the 
blow torch. Remove all fused borax and oxide by boiling 
in the sulphuric-acid pickle solution. 

With the seam resting firmly on the stake, hammer it 
down to even thickness, then true it up by continued 
turning and hammering. File the edges clean and anneal 
it again. 

From now on it may be treated in the same manner as 
if it were raised from a flat piece of metal. A bottom, of 
course, will have to be fitted in and soldered. 


RAISED WORK 169 


SEAMED WORK 


e/ 
Wee 


DEVELOPMENT 





Fig. 148. PREPARATIONS FOR A SEAMED PIECE OF WORK 


{70 METALCRAFT AND JEWELRY 





Fig. 149. HamMErEeD CoprpER CANDLESTICK 
By G. H. Trautmann 


d 


1 


RAISED WORK 





VASE 
H. Trautmann 


HAMMERED Brass Bup 


150. 
ByG 


Fie 


172 METALCRAFT AND JEWELRY 





i 


POS ee sak 





Fic. 151. HAMMERED CoppER CANDLE- 
HOLDER 
By G. H. Trautmann 


CHAPTER XI 


MertTat CoLorRInc—OxIDIZING 


87. Metal coloring. In order to give the work a finished 
appearance after all the tool work is done, it is essential 
that it be taken through a finishing process so that the 
design will be brought out in its best possible form and 
color. 

Most metals, when in a massive state, retain their 
brightness in dry oxygen or air, but in a moist atmosphere 
most of them will gradually become oxidized. For exam- 
ple, when a piece of iron is exposed to moisture and to the 
air, which contains a mixture of many gases—oxygen, 
nitrogen, carbonic acid, ammonia, ozone, and others—it 
oxidizes and rusts. , 

Metals may, for industrial and commercial purposes, 
be divided into two classes: precious metals and the 
baser metals. Gold, silver, platinum and iridium are of 
the former class; copper, brass, iron, nickel, aluminum, 
zine, lead, and tin are of the latter class. 

Metals left unprotected from the atmosphere would 
gradually undergo a chemical change. ‘This natural 
coloration or oxidation sometimes completely changes 
the appearance of a metallic surface, as will be noticed in 
old statuary and coins, where time and age alone have 
given the metal a beautiful patina. No artificial coloring, 
however, can compare to Naturé’s process. 

But excellent results are possible by mechanical means 
and chemical compounds. This is only a means of hasten- 
ing Nature’s process. For experimental work in metal 

173 


174 METALCRAFT AND JEWELRY 


coloring the worker should have on hand such compounds 
and chemicals as potassium sulphide (liver of sulphur), an 
ounce of platinum chloride (10 per cent solution), tincture 
of iodine, copper sulphate (blue vitrol), sal ammoniac, 
oxalic acid, hydrochloric acid, acetic acid, pumice powder, 
whiting, and bronzing lacquer, formerly known as banana 
oil. 

A piece of silver work may be finished in the following 
manner: First, anneal; second, boil a minute or two in 
diluted sulphuric acid, then rinse in water. Third, scrub 
the work with a brass or steel scratch brush and water; 
if this is not available fine sand and water will accomplish 
the same result. This entire process may be repeated three 
or four times before the metal becomes pure white. It is 
known as the “‘ brushed finish.”’ 

If a little duller finish is desired powdered pumice stone 
or a kitchen cleanser should be substituted in place of the 
sand or the scratch brush. 

88. Polishing. Rub the surface vigorously with a 
cloth dipped in tripoli to produce a good ground; then 
polish with another cloth or chamois dipped in rouge 
powder or on a cake of crocus. The particles sticking in 
the corners may be washed off with hot water to which a 
little ammonia has been added. . 

Superior work in polishing and scratch-brushing is 
possible if a lathe or motor is at hand, where revolving 
brushes and buffer can be used in place of the hand 
method. 

89. Oxidizing Silver. If ordinary care and the following 
few precautions are taken, very little difficulty should be 
experienced, and pleasing colors produced. 

Clean the work by annealing, then boiling in diluted 
sulphuric acid, and scratch-brush. It is absolutely essen- 


175 


METAL COLORING 


4 


Cae cea racaneaicatnaunremmeroxcan scan mmeneaeaans: | 














LAMP 


Fic. 152. 
By Mr. Trautmann 


176 METALCRAFT AND JEWELRY 


tial that the article be made perfectly clean and free from 
all grease and oil. This is accomplished by adding a little 
soda to the water when the brushing is done. 

The most beautiful finish that can be produced on silver 
is the platinum finish, a deep French-gray. 

Platinum chloride, 1 gr. 
Distilled water, 500 gr. 

Suspend the work in this solution until it becomes tar- 
nished all over, then transfer it to a solution three times 
the strength of the first one until the desired depth of 
color is attained. With a little whiting and water on the 
tip of the finger, rub off in spots to produce the high lights 
and half-tones. By using a hot solution a different result 
is obtained from that which comes when a cold solution is 
used. 

A stronger and quicker-acting solution for Seal 
silver is made from: 

1 fluid oz. tincture of iodine 

14 fluid oz. platinum chloride (10 per cent solution) 
Apply with a soft brush and let dry. Produce high lights 
with water and whiting. 

A very pleasing gray color on silver may be produced 
with the following inexpensive solution: 


A small piece of potassium sulphide (liver of sulphur) dissolved 
in a glass of boiling water. 


The work, which must be thoroughly cleaned, may be 
submerged in the solution until the desired color is pro- 
duced, rinsed in water, and rubbed off with whiting. If 
unsuccessful the first time, scrub the work clean and white 
with pumice powder or some kitchen cleanser and try it 
once more; no harm is done, and it requires a little practice 
to get the work to show up in its best possible form. The 


METAL COLORING 177 


rubbing off, to produce the proper high lights, half-tones, 
and shadows, is the most delicate part of the oxidizing 
process. 

If the work contains a stone that is soft, such as tur- 
quoise or malachite for instance, care must be taken not 
to get any of the sulphide solution in contact with the 
stone as it will absorb the solution to such an extent as to 
ruin the stone. The stone must be covered with melted 
beeswax, or the oxidizing solution may be applied to the 
work with a brush, the latter method being the simplest. 

A blue-black color is produced by placing the work in a 
solution of potassium sulphide diluted with spirit of sal 
ammoniac until a dark blue-black tone is produced. Wash 
in water, rub off, and dry. 

Green color on silver, according to Lange, may be pro- 
duced by adding to three parts of boiling water one part of 
iodine and three parts of hydrochloric acid. Suspend in 
the solution until the desired color is obtained, then rinse 
off and rub with whiting and water. 

90. Oxidizing Copper. A small piece of potassium sul- 
phide dissolved in a glass of boiling water will make a 
solution that is commonly used. Any range of color is 
possible, varying from pale straw, crimson, purple, blue 
to black. The depth of the color depends upon the 
temperature and strength of the solution, and the length 
of time the metal is exposed to its action. Ammonium 
sulphide and water will produce the same result. 

91. Oxidizing Copper or Brass. 

A green antique: 


1 qt. water 
1 oz. sal ammoniac 
34 oz. table salt 


This work must be dipped and allowed to dry a number of 


178 METALCRAFT AND JEWELRY. 


times before any effect is apparent. 
Green patina on brass or bronze: 


5 pts. water 

1 oz. sal ammoniac 

1 oz. copper nitrate 

14 oz. calcium chloride 
YY oz. oxalic acid 

14 oz. copper sulphate 


The depth of color may be regulated by adding more 
copper sulphate and sal ammoniac. This formula is taken 
from an old German handbook. It was tried out by 
several students in the author’s class and found to work 
well, giving a great range of shades. 

92. Bright Dip. Copper and brass may be given a 
quick dipping in the following bath: 


2 parts nitric acid 
1 part sulphuric acid 


and rinsed immediately in clean running water, then dried 
in sawdust. For a bright dip on silver use carbon bisul- 
fide. 

93. Metal Lacquer. No metal will retain its color and 
brightness unless the surface is given a coat of thin trans- 
parent lacquer to protect the metallic surface from coming 
in direct contact with the atmospheric gases, which in 
consequence will retard oxidation. 

There are many metal lacquers on the market in all 
different colors and shades. <A clear metal lacquer is 
preferable if the original color produced by oxidation or 
polishing is to be retained. 

The work to be lacquered should be warmed slightly 
to remove the chill. Then apply the substance with a 
plece of cotton or soft hair brush. | 


METAL COLORING 179 


Melted beeswax with turpentine added to make a paste, 
makes a good surface covering for larger work. When the 
wax has hardened it should be polished with a clean rag. 

What is known to the trade as banana oil may also be 
used as a substitute for metal lacquer. 


TOOLS FOR JEWELRY WORK 


1 large alcohol lamp or small gas torch 

1 mouth blowpipe 

2 pairs of flat-nose pliers, 414 inches 

1 pair of round-nose pliers, 414 inches 

1 pair of tweezers 

1 slate for borax 

1 jeweler’s saw frame, 3 or 5-inch deep 

1 dozen jeweler’s saw blades, No. 0 

1 hand drill 

1 charcoal or asbestos soldering block 

1 pair of snip 

6 assorted gravers with handles 

1 small hammer 
4 needle files, half-round, flat, round, and bird-tongued 
1 draw plate, 40 holes, round 

1 engraver’s ball, 5 inches diameter 

1 horn anvil, 5 inches 

1 file, mill bastard, 8 inches 

1 file, half-round, 6-inch second cut 

1 log, about 12 inches diameter, 24 inches long 
1 piece of silver solder, easy-flowing 

1 piece of silver solder, hard-flowing 

Chaser’s pitch (see p. 72) 

Chasing tools made from tool steel (see p. 76) 
Sulphuric-acid pickle pan (Fig. 7) 

1 spool annealed iron binding wire, gage 26 


The best and only way to purchase equipment is to send for a 
catalog from one of the wholesale jewelry supply houses (consult 
list of Dealers), and select the tools wanted, or see one of the local 
jewelers in the city. They usually have a catalog on hand from lead- 
ing wholesale houses and they may even be able or willing to order 


180 METALCRAFT AND JEWELRY 


tools and materials. At times the large houses are somewhat reluc- 
tant about sending out an expensive catalog. 

An equipment like the one listed here should cost approximately 
$15.00. : 


DEALERS 


COPPER AND Brass 
Chas. Besly Co. 
125 North Clinton Street, Chicago, Illinois 
Oscar Krenz 
626 Bryant Street, San Francisco, California 
The American Brass Co. 
Waterbury, Connecticut 
STONES 
Klein Bros. Lapidary Co. 
7 West Madison Street, Chicago, Illinois 
Espositer, Vani Co. 
15 Maiden Lane, New York City 
Geo H. Marcher 
934 Santee Street, Los Angeles, California 
SILVER AND GOLD 
Thomas J. Dee & Co. 
5 South Wabash Avenue, Chicago, Ill. 
Handy & Herman 
59 Cedar Street, New York City 
Wildberg Brothers 
742 Market Street, San Francisco, California 
Art GLAss, PARCHMENT AND GLASS CYLINDERS 
Foskett Co., Inc., Glass Mfg. 
Port Jervis, New York 
Tar Heel Mica Co. 
Plumtree, N.C. 
CHEMICALS AND LACQUERS 
Central Scientific Co. 
460 East Ohio Street, Chicago, Illinois 
Waukegan Chemical Co. (Lacquers) 
Waukegan, Illinois 


DEALERS 


SILVERSMITH’S TOOLS AND SUPPLIES 
Metalcraft Supply Co. 
Providence, Rhode Island 
Wm. Dixon, Inc. 
32 East Kenney Street, Newark, New Jersey 
JEWELRY SUPPLIES AND TOOLS 
Swartchild & Co. 
7 East Madison Street, Chicago, Illinois 
Otto Young & Co. 
7 East Madison Street, Chicago, Illinois 
Norton Jewelry Co. 
Kansas City, Missouri 
PitcH 
Jared Holt Bros. 
Albany, New York 
or 
Local Shoemaker’s Supply House 
WROUGHT-IRON ORNAMENTS 
J. G. Braun 
615 South Paulina Street, Chicago, Illinois 


181 





INDEX 


A PAGE PAGE 
PacOuOr RIND, ok Pipe aroun papers oe 12 
UNS” 5) la 17. Carbonate of copper 58 
POMeRA Tce ee aS iy TOMO ALV INO ook ya aera ee 50 
Annealing wire. ..... 25, Catch. 40 
SUCRE Ws eee on 1S Chainmaking”, =..2°9: 100 
Charcoal block<. 3. 42s 36 
B CASES pee jo rhe ere ee, 52, 69 
(NRE) G9 Ue Oe aa 53 Chasing hammer. ... . 53 
Daleeenemmakine ot 5.128 Chasine pitch .... . . 40 
euspeuruaniner, 1, . 135 Chasing tools... . ..... 52 
acer meth a eee fr. 16 Chasing tool, making of. . 76 
LESTE S| ign a) ar a 53 Chipping . ig eay s 37 
Beeswax for transferring Cleaning by chemicals. . . 18 
designs . .. . 11 Cleaning soldering bit. 121 
Benvenuto Cellini. . . . . 70° Cleaning solution. 13 
UGS, ae 17, 36, 88 Close setting. 36 
Birth stones. ke Piast oiled wile. a1 cs 20 
Blotter corners. ..... ioe Composition metal’. ..7, 9. 2117 
PoGre se wee ae. ee. Y ANB folie] ts) eee core ae ep 16 
PROC RIAL Coe Ns ms CU eC ODDEL-OxIUG ae we ae yak 121 
Oks a a err TolemiG@racking, risk of ©:. 574. 12 
coe. gone ty gl cs Ogee TIN PINS sea een ee 162 
LASS Soe 2 0 ie a a a a 17 Crucible furnace. 9. . 116 
Erientcp) Me ee Fs i (ore Crucible steel. oe 76 
OCC ge x fat 3 37 Cutting links. . . 26 
LSID GS 5b Si ee ae ly 
Biumsen*burner =... . 2 D 
Bit ster se ant fou) s .* 12a) sDepDpiny die ten ao anaes 128 
Dapping tools... . . 130 
C Deslers'@ teehee 18018) 
Cabochon shape Rae ey: Dot pALIeek Geto A ee ie ae 144 
CNEL << 4) Oo ae Le iey eaten ayn. cee Pane ili, 


183 


INDEX 


184 
PAGE 
Dissolving borax ..... AT 
Draw plates . m2), 9202208 
Draw pliers . . . 25 
Draw tongs . . . 27 
Drawer pulls. . . . 128 
Drilling vie rane rae 20 
Drill, how to make . 20 
Drill, swiss. 20 
Ductile . 18 
E 
Embossing. . Be 69 
Exercises in repoussé youl 78 
Ir 
File cards . . 24 
Bilesicdec poe eM et) 
Filigree. 3G, saew mt ae Oo ees 
Filing. 25 
Fine gold . 18 
Flat-nosed pliers . 36 
Flat work . 124 
Bluse ; 29 
Flux for soft solder 118 
Foot bellow . 12 
asin (ava so, eters 29 
G 
Gap ea see, tela ena 19 
Gamboge 12 
Gas blow torers ee SS oe 12 
German silver . . 58 
Goldstar Le 
Gravers hike eae 50 
H 
Hammered texture . . 53 
Hammered work. . . 124 


PAGE 
Hand drill. 333 eee 20 
Hand ‘vise (eee 76 
Hardening ,:,+ 2 aes See 
Hardness=, 3. a7 ee 112 
Hard soldering.” ia ae 28 
Heat application. .. . . 38 
Heating pitch) ees 47, 74 
Horn’ anvilg eee pe ¥ 
Horse stake. Sei ae 165 
I 
Ingot \ 4252) eee 116 
Inner bezels: 2 ee 43 
Iron binding wires 34... 32 
a 
Jamb peg. > hn eee poe) 
Joints +44 ee 40 
L 
Lantern: =) 22>, eae 130 
Lapidarys 5) \ah = eee 110 
Letter opener ...... 127 
Light carving). eee 
Loam. °.323 ee 31 
M 
Malleable”..".. ee 18 
Mallets 1%: a5 2a 154 
Matting tools: 7.73 75 
Melting silver’. . “Saas 116 
Metal coloring 7... 173 
Metal lacquer =. 178 
Micaciae eae Renee ate) 
Mouth blow pipe. .... 12 
N 
Needle ‘files <2... ae 24. 


O 


Opaque stones . 
Orange shellac . 
Oxidation . 
Cele on, 


Oxidizing brass. . . .. 
Oxidizing copper. .. . 
Oxidizing silvers.) .. 


Paste i) 
~ Pendant. 
Pennyweight. 
Pickle. 
Pickle pan. 
Pierced work. . . 
Pin vise 

1h) on © ae ae 
Pitch block . 
Pitch bowl. . . 
Planishing . 
Planishing hammer . 
Pliers, round nose. . 
Panehing 

Porous and soft Scnen: 
Precautions .. . 
Precious metals. . 
Precious stones. 


Preparation of metal . . . 


PUUMNWATe Ss 


Pumice powder. ... . 
Lei vec SLAW ne ae eee 


Raised work, .... °. . 


Raising hollow vessels. 
Raising tools. 

PEMIMOTS es Six >. 
Reinforced edge 


ee Ser 6 ey gr -e: 


OR tase ee te Moe | is 


. .20, 38, 61 S 


er 79, 124, 154 


INDEX 


PAGE 
ie eELecities =: 
49 Repoussé work 
99 Rolling . 
99 Rouge. a ake 


Pein blank i 
7 7eving clamp... 
Wyden Oe Pare ey Pe 
Ring joint. 
Ring mandrel 
31 Ring making. 
81 Ring with applied wort 
114 Riveting hammer. 


13 Rivets. . . 
15 


. . . . 


98 Sal ammoniac . 

72 Sandbag. . 

70 Sawblades. ... 

72 Saw-frame, jewelers. . 
Sawing . 

2a eseart pin, 

28 Scratch awl . 


174 Scrolls, how tomake . . . 


58  Seaming 
12 Sections of Glee! 
17. Semi-precious stones . 
111 Amethyst 
12 Aquamarine 
25 Azurite 
15 Bloodstone 
17 Chalcedony 
Chrysoprase 
Coral 
151 Jade 
156 Labradorite 
15 Lapis Lazuli 
18 Malachite 
166. Malachite azurite 


186 
PAGE 

Moonstone 

Moss agate 

Opal matrix 

Turmaline 

Turquoise matrix 
Setting’. 0... sega eee 
Setting stones ...... 40 
Sharpening gravers. ... 5l 
Sven sles wile een 
Silver, how to order. . 114 


Silver solder, easy flowing 31, 117 
Silver solder, hard flowing 31, 117 


Sl alert as Sl Ss a 
SnarlingyirOn one eee 84 
Soft solder. . od SAA LG 
Sortesoldering. eens 28 
poldering oy) ae tesa aes 38 


Soldering formulas . ik 
Soldering iron. ..... 119 
Spree OT Ass sa cen ee i 
Stake Se> ci ee ee 161 
Sismpinr ys ace ee ee 70 
Sterling silver: 20) 4 2003 17 
SLOUe CULLING Mie) siege eer 110 
Stone polishing: . 9s 4. « 110 
Stone slitting: <9: aaa 110 
Stones iS. os pee CeO 
Sul phuriceacithng tae 13 
T 
Table of weights. .... 116 
Tallow:2: 32 ed) eee ee 72 


INDEX 


PAGE 
Taper... 3 ee 40 
Tapered steel mandrel. . . 37 
Temper... .: ee ae 20 
Tempering) 2 Gee re 
Template s+ /..42 eee 162 
Tension? <9. aeons 23 
Tinning copper bit . . . 120 
Tools for jewelry work. . 179 
Tool:steel’. eee ae 
Tracers >... re 70, 75 
Transferring a design . 11, 20 
Translucent stones... . 33 
Trays and platters . . 151, 165 
Treacherous metals. . .. 13 
Tripoli... eee 110 
Twisted wire, 7: jae 65 
Twisting wires. ..... 108 
U 
Unit Jewelry.) sae. eee 107 
W 
Watch fob. 73 eee 20 
Weight of gold.) eae 115 
Weight of silver ..... 115 
Whiting. ME set 72 
Wire brush.) 7. eee 24, 32 
Wire and wire drawing 25, 97 
Z 
Zinc: chiondé eee 119 


LIST OF ILLUSTRATIONS 


FIGURE 


Gold pendant carved and chased... ......2... 
Bee Premiere IAIND ci. /- ae gk eo tara we Tw PS 
foe ererot eOldermne. 8 a a a ee 
ee DCm e Ga, ea 
eee Brat em, ye ce ah a SO ge al 
Re Se eg ge yee ae Gal Se he 
er a ga al eae nas “pt tact 
pe remrmrorewaeemObe. 2.) baie Ge oe ek ele 8 
CARESC) ERIC V0 0: a eRe ee 
Meee ek ese a we ee 
13 Jeweler’s saw-frame and cutting board. ........ 
Ife Clampme thesaw blade. ...0.°. ek ihe wes 
Pome eremeoieniesleoun, ek ck ee Es wa 


—_ 
KEK ODOON DO HR WN 


meee TO nwt ee ee ae 
Toeoon- or wire tee Up ior annealing . . 6.0. 20. 1.0. 
Pmevieiineeroungslinks sro... Oe tsa heen 
Mimeioundeanose pliers iv Use. 6g ok re 
miemyvotipresatcaaor soldering... . .s 0. 6 e 2 ee, 
Peete soneruding borax, a a ee 
PO nee OeT eet ie ys be ee a 
Pome atioineror ine Up work 06.0. 6 ee A a 
Pee Om aR CLANS 9 a. Ge ee PS 
POM Rete ReOLUISN oho ee 4 3 nt eel OP Ua 
ee aCe eS Ng eS OR 
RM ec rs merns a uM ahic ee ts ew aa, 
Pome estete TOM rOOCheSs | bs ian ioe et a as 
Bumeviakioge a Close or box setting... . 2... eS 
mieeouiecznr asebting into place. 2-2 20.30. eb. 


187 


188 LIST OF ILLUSTRATIONS 
FIGURE 
32 Soldering bezel on charcoal block... 33a eee 


Soldering with alcohol lamp. .~ > 3 eg ee 
Stretching a bezel on:mandrel . . . (a0) ag ee 
Horn anvil in-use... <0 |... 4) ee 
Leveling up bezel. 2 . . 0. = 
Steps in making a.brooch 22. . =) =)e een ee 
Forcing tapered wire into joint and pin. ........ 
Block with cement... 2 °)° 3 
Fitting stone into bezel... <n 

A Joose inner bezel)... . J...) 2 
Setting arstones 360° ae 
Pushing tool hab ta hy 
Setting a stone and tools a . a 
Work by students... ... 2°.) 5) 
Silver work by students” ..-. = °. 05 
Brooches, light carving and chasing~ 25) eee 
Steps in making carved brooch . .. 7) 7) 4 
Gravers for metal carving. . 
Eneravers bal 4 wea 

Work being carved 2 2. 2) eee 
Chasing tools“... 20... 2a 
Chasing hammer <7. esos. ee Sai or 

Gold brooch carved and chased: “> (2) ss eee 
Artist at work chasing ) <7. (=e 

Designs for scarf pins =...) _ .) 
Steps In making scarf. pin. . . queen seat! 
Holding pin stem while soldering. . ......2..~. 
Work by students... 4... 
Silvercross  . oo. 60.) 0 a 
Steps in making a ring .”. .. 2.5 ye 
Ring design with application work 9 eee 
Searab ring . 2S i. ee 
Carved ring . 2. 2 ie. 5 1 
Swallow pendant. ..... oie WEE ie ie ae 
Silver pendants with migonatenee :. ORO Se 
Bunsen burner. .. .. . . 1°30 ee 
Steps in making repoussé work > 25a ee 
Attaching. metal plate to pitch. — 23 ee 


sta ee el, eae 


ier ae Woe ree ees re Set eS 


FIGURE 
RTE Olam WA a ew ee 
PE Cr ee Ee be el 
fieeececine a line with chasing tool... . .:.. ...°. 
Peaervepotsec practice Work 2... 20. ee a 
74 Walnut box with applied metal work. . ...... 
Boer eURLOn DIRGG ek se 
Pome olin tT orooch repolisse work... 3). foe we we. 
77 Silver back comb repouss6é work. .......... 
(Vyas i 02a ot nr 
79 Pendant, iris design, repoussé work ........ 
VOR DOMUAN ei eon Pee en Sete 
Bieta brooches repolisse work... 260 es 
Ee eeer ate pins 10 TEPOUSSe WOrK. 2. ek 
pametep panel tor jewelry box... 2 ee 
Brepige pane! ror jewelry DOX. ©. 9.065. So. we Sas 
85 Silver pendant, and two brooches. ........ 
Pmmpeet inven Use a ee at 
Bammer Pie ron USE 6. Se ae 
Smet amemored ever CUD, 29... 6. we wk oa 
Pe ee IKINOMCLUIY So ee se 
SRPMRUE ECT CO ta ee 2a. i ae ee ee le 
PM IC ro ee ee Ee) he el Sew aes 
oe Ae ITO INKS) ey er oe ee 
om GU Ile HURON 
Sn SARI CAN hee ee ee a lot ke le es 
95 Chains with inserted ornaments. ......... 
DME Ee tC OUI ec, 8 ak ee 
Nieeyvire uit WOrK =. S.C Becht UE CY Lucene an: TOM nae 
Pee Vitcvepiralc. ow tO Make - <-. 0. ee a a ee 
SEALE aT OT, ose we eos big ee dees) wt 
Eogeerineree brooch from Iceland’... 2... 20h a 
iia? niptee brooch from Norway .... «0. .6. Seon 
ne Ie ee a aga 
me tILMIe eT Gomer ee eh Pe Rai 
104 Stones, styles of cutting, sizes and measurements .. . . 
Deere PUINAOR a ee ek ea) aie 
eM Ot ener eh a Salo a cat ee 
Gr ye sey ug e oa Vege «sea a a 


LIST OF [ILLUSTRATIONS 


190 


LIST OF ILLUSTRATIONS 


FIGURE 


108 
109 
110 
111 
112 
113 
114 
115 
116 
117 
118 
119 
120 
121 
122 
123 
124 
125 
126 
127 
128 
129 
130 
131 
132 
133 
134 
135 
156 
137 
138 
139 
140 
141 
142 
143 
144 
145 


Soldering coppers-j04/). 2 ne Rete ee o et 

Desk set and book ends, . . . 2. ye 
Designs for metal book ends. .». | Si) eee 
Bending metal...) 2... ca 
Riveting . fo. 0.0. fre 
Letter opener, copper and brass... 7). eee 
Designs for drawer and door pulls’) 7 =") eee 


Straps for drawer pulls. . 7. . 7 3 eee | 


Drawer pulls 23. 2... er 
Copper drawer pulls; ...°. ) 79 
Waste basket, applied metal work. . . . 2 2 2a. 
Writing. desk, applied metal work ~ 71> 7 (9) eee 
Dapping die and tools . 2.2. 5) })7j)3ae ee 
Wall lantern .°...-. 2 3°. 2) SR 
Steps in making lantern . . | . 2. ee 
Lantern with motive for design’) 2" 7 eee 
Ceiling lantern... 2. os) 4 
Riveted lantern .-.° 20... .-) 1 
Lantern designs .. .>.. . > /2 
Desk set. 6. 20.0 6 as 
Desk set... a So 
Corners for desk set, the making, ¥ (37) 7. eee 
Desk pad support . 2. 3). . 
Stationery racks: . . . ., . JU" 20 ete 
Shallow trays and. bowls . . . + (939) 3a mah 
Ball-pein hammer in use... . 90.) 59) =) 
Mallets and doming log... .... . . 32 33 
Planishing process. ©. . ... 2... sane 83 
Leveling a piece of work... .... .°. 2 2) ee 
Punch bowl being raised . . . + 5) ee 
Steps in raising a vessel. . . .°. 2 a 
Raising a vessel by crimping . ©. [5.93 ee 
Drawing up a piece of-work, .-. >. Gases ese 
Drawing in the neck of a vessel | 73) eee 


Methods of gaging ‘a line. . -.--. 7.903 ee 


Copper tray. . 20.0. 2 0. 4) See 
Platter with pierced design .. .. \.2 0) yee 
Pen tray. 00.0000. 6.552 


LIST OF ILLUSTRATIONS 


FIGURE 


146 
147 


* 148 


149 
150 
151 
152 


Lamp 


Steps in making a platter 
Soldering wire edge 
eee ee a a 


Copper candlestick 
Bud vase. 


lS) See SO ee, Ot e! LP wes AS Hel Gel * tel) Neue wie = 


Pit Se i Oca eT Pele ge Mig Ste, vel > esi yet Bite Mis AP e- = ee. ing 


eo ne eee eS Oe RIO eho ON ge (eo a peers? et» <a. oe 
et re Oe ee Ce Be Ce le Oe 6 a pe oe (eR Oe Ue Xe 
nee Se hee. eG nay § Gl Prov’ se) je “ser Jew ae .6) oe 


i ee ee ee TO ee es eh ee ea Sa a” @ eo -e Se «6 Ja. ©. 














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